2016 spring/summer - Steidl Verlag

SPRING/SUMMER

2016

IN MAKING FILMS I CONTINUE TO LOOK AROUND ME, BUT I AM NO LONGER THE SOLITARY OBSERVER TURNING AWAY AFTER THE CLICK OF THE SHUTTER. INSTEAD I’M TRYING TO RECAPTURE WHAT I SAW, WHAT I HEARD AND WHAT I FEEL. WHAT I KNOW! THERE IS NO DECISIVE MOMENT, IT’S GOT TO BE CREATED. I’VE GOT TO DO EVERY­THING TO MAKE IT HAPPEN IN FRONT OF THE LENS: SEARCHING_ EXPLAINING_ DIGGING_ WATCHING_ JUDGING_ ERASING_ PRETENDING_ DISTORTING_ LYING_ JUDGING_ RECORDING_ TRYING_ TRYING_ TRYING_ RUNNING_ TELLING A TRUTH_ RUNNING_ CRAWLING_ WORKING TOWARDS THE TRUTH_ UNTIL IT IS DONE ROBERT FRANK THE LINES OF MY HAND 1971

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Film stills from Robert Frank’s Me and My Brother (1968)

Index

Artists / Editors Adams, Robert  31–35 Aldridge, Miles  69 Anotani, Masaho  89 Ball, Ken (ed.)  127 Baltz, Lewis  101 Banier, François-Marie  143 Barnes, Martin (ed.)  149 Belin, Valérie  57 Berndt, Jerry  103 Blumenfeld, Erwin  139 Bolofo, Koto  129–31 Bourdin, Guy  105 Chan, Theseus  89 Comte, Michel  61 Davis, Keith F.  81 De Pietri, Paola  51 Devlin, Lucinda  107 Diépois, Aline  141 d’Orgeval, Martin  145 Dufour, Diane  71 Ellison, Ralph  37 Ewing, William A.  75 Forbes, Duncan  71 Frank, Robert  15,25 Ghesquière, Nicolas  87 Gizolme, Thomas  141 Gohlke, Frank  99 Goldblatt, David  29 Goldin, Nan  55 Grant, Alexandra  95 Grauerholz, Angela  67 Grossman, Sid  81 Gudzowaty, Tomasz  109–113 Haas, Ernst  75 Hanzlová, Jitka  65 Heick, William  127 Horn, Roni  93 Hujar, Peter  83 Jedlička, Jan  63 Kia Henda, Kiluanji  135 Kosorukov, Gleb  115 Latour, Ira H.  127 Leiter, Saul  27 Leutwyler, Henry  117 Lifshitz, Sébastien  133 Löffelbein, Kai  119 Macauley, C. Cameron  127

Contents

Mehta, Suketu  99 Mocafico, Guido  137 Moffat, Curtis  149 Mofokeng, Santu  45 Moser, Walter  71 Neville, Mark  125 Nozolino, Paulo  121 Odermatt, Arnold  123 Papageorge, Tod  85 Parks, Gordon  37 Polidori, Robert  49 Rautert, Timm  77 Reeves, Keanu  95 Sarfati, Lise  53 Saura, Carlos  97 Serra, Richard  91 Sternfeld, Joel  99 Sutherland, Marq  147 Teller, Juergen  87 Trager, Philip  73 Wessel, Henry  39–43 Westerbeck, Colin  79 Whyte Ball, Victoria (ed.)  127 Witkovsky, Matthew  71

Titles 200 m  63 27 April 1994  45 60 Feet Road, Bhatiya Nagar Facades  49 Abstrakt Zermatt  141 Amateur  133 Angela Grauerholz  67 Beautiful America  103 Beyond the Body  109 Blumenfeld Studio  139 Closer  111 Color Correction  75 Concert at Sewefontein  45 Continental Divide  43 Cotton Rose  65 Cottonwoods  31 Ctrl-X.  119 Curtis Moffat  149 Découpages  145 Democracy of Imagery, A  79 Diving for Pearls  55 Document  117

Fancy Pictures  125 Funeral  45 Golden Decade, The  127 Heroes of Labour  115 Imprudences  143 In Booksburg  29 In My Room  27 Invisible Man  37 Istanbul New Stories  51 Josef Sudek  77 Lake Pictures  107 Landscape as Longing  99 Let’s call it a day  123 Life and Work of Sid Grossmann, The  81 Light  61 Loaded Shine  121 Lost Downtown  83 MASAHO ANOTANI “DEFORMED”  89 Message For You, A  105 Mocafico Numéro  137 New Industrial Parks, The  101 New West, The  35 Notebooks Vol. 2  91 Oh Man  53 Our Lives and Our Children  33 Papermaking  131 Photographing Ina  73 Pilgrim  147 Please Return Polaroid  69 Printing  129 Provoke  71 Remembered Words  93 Robert Frank Film Works  15 Season Three  87 Seeing Things  85 Shadows  95 Silver Society  149 STEIDL-WERK No.23  89 Stories  45 Sunset Park  39 Traffic  41 Travelling to the Sun through the Night  135 True Love Never Dies  113 Valérie Belin II  57 Vanished Spain  97 Was haben wir gesehen  25 What we have seen  25

3 Editorial 4 Index 5 Contents 6 How to contact us Press enquiries How to contact our imprint partners



75  William A. Ewing (ed.)  Ernst Haas. Color



77 Timm Rautert  Josef Sudek, Prag 1967



83 Peter Hujar  Lost Downtown



87 Teller/Ghesquière  Season Three

Correction 1952–1986 79 Colin Westerbeck  A Democracy of Imagery 81  Keith F. Davis (ed.)  The Life and Work of

Sid Grossman 85  Tod Papageorge  Seeing Things: New York,

Distribution 7 Germany, Austria and Switzerland 8 USA and Canada 9 France All other territories

1966–1967 89  STEIDL-WERK No.23 

MASAHO ANOTANI “DEFORMED”

Previously Announced Books

11 Steidl Bookshops 13 Book Awards 2015/16

Steidl Spring/Summer 2016 List 15 Robert Frank Film Works



25  Robert Frank  Was haben wir gesehen /



27 Saul Leiter  In My Room



39 Henry Wessel  Sunset Park



51 Paola De Pietri  Istanbul New Stories



73 Philip Trager  Photographing Ina

What we have seen 29 David Goldblatt  In Boksburg 31 Robert Adams Cottonwoods 33 Robert Adams  Our Lives and Our Children 35 Robert Adams  The New West 37  Gordon Parks  Invisible Man: Gordon Parks

and Ralph Ellison in Harlem 41 Henry Wessel Traffic 43 Henry Wessel  Continental Divide 45 Santu Mofokeng  Stories: 2–4 49  Robert Polidori  60 Feet Road, Bhatiya

Nagar Facades 53 Lise Sarfati  Oh Man 55 Nan Goldin  Diving for Pearls 57 Valérie Belin  Valérie Belin II 61 Michel Comte Light 63 Jan Jedlička  200 m 65 Jitka Hanzlová  Cotton Rose 67 Angela Grauerholz  Angela Grauerholz 69 Miles Aldridge  Please Return Polaroid 71  Witkovsky/Dufour/Moser/Forbes Provoke.

Between Protest and Performance

91 Richard Serra  Notebooks Vol. 2 93 Roni Horn  Remembered Words 95 Grant/Reeves Shadows 97 Carlos Saura  Vanished Spain 99 Sternfeld/Gohlke/Mehta  Landscape as Longing Lewis Baltz  The New Industrial Parks 101  Near Irvine, California 103 Jerry Berndt  Beautiful America 105 Guy Bourdin  A Message For You 107 Lucinda Devlin  Lake Pictures 109 Tomasz Gudzowaty  Beyond the Body 111 Tomasz Gudzowaty Closer 113 Tomasz Gudzowaty  True Love Never Dies 115 Gleb Kosorukov  Heroes of Labour 117 Henry Leutwyler Document 119 Kai Löffelbein  Ctrl-X. A topography of e-waste 121 Paulo Nozolino  Loaded Shine 123 Arnold Odermatt  Let’s call it a day 125 Mark Neville  Fancy Pictures Ken Ball and Victoria Whyte Ball (eds.)  127  The Golden Decade 129 Koto Bolofo Printing 131 Koto Bolofo Papermaking 133 Sébastien Lifshitz Amateur Kiluanji Kia Henda  Travelling to the Sun 135  through the Night 137 Guido Mocafico  Mocafico Numéro 139 Erwin Blumenfeld  Blumenfeld Studio 141 Diépois/Gizolme  Abstrakt Zermatt 143 François-Marie Banier Imprudences 145 Martin d’Orgeval Découpages 147 Marq Sutherland Pilgrim 149 Martin Barnes (ed.)  Curtis Moffat: Silver Society 151 Backlist

This catalogue is not for sale · © 2016 for this publication by Steidl Publishers, Germany · © 2016 for the images by the artists · © 2016 for the texts by the authors Scanning by Steidl’s digital darkroom · Production and printing by Steidl Steidl, Düstere Str. 4, 37073 Göttingen, Germany · Phone +49 551 49 60 60 · Fax +49 551 49 60 649 · [email protected] • steidl.de

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All rights reserved · Printed in Germany by Steidl · ISBN 978-3-95829-129-4

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Book Awards 2015/16

Dr.-Erich-von-Salomon-Preis / DGPh 2015 Josef Koudelka

Deutscher Fotobuchpreis 2016 Gold: Fazal Sheikh The Erasure Trilogy Silver: E. O. Hoppé The German Work Silver: Robert Voit New Trees

Antiquaria-Preis 2016 Manfred Heiting and Roland Jaeger Autopsie. Deutschsprachige Fotobücher 1918 bis 1945, Vols. 1 + 2

Shortlisted for the 2015 Paris Photo–Aperture Foundation PhotoBook Award Fazal Sheikh The Erasure Trilogy

Nominated for the 2015 Lucy Support Category Award (book publisher of the year classic) Dayanita Singh Museum of Chance

DAI Architektur-Literaturpreis 2015 Gerhard Steidl

12

Film stills from Robert Frank’s About Me: A Musical (1971)

13

ROBERT FRANK FILM WORKS

STEIDL

14

Robert Frank. Photo by John Cohen

15

Restoration Blues Survival in films, the survival of films An interview with Gerhard Steidl on the digital restoration of Robert Frank’s films

Fritz Göttler: Who had the idea of restoring Robert Frank’s cinematic oeuvre and thus making it accessible again?

Is there then a definitive version? No, at some point work on it just stopped, Robert then

Gerhard Steidl: I started printing books for Robert

delivered a version to the Rolling Stones’ management

Frank in 1989, for the Scalo publishing house. When

— it was after all a commission. Mick Jagger actually

it went bankrupt in 2004, I acquired the rights and

liked the film, but the band’s management thought

continued printing the books. I sat down with Robert

the public would be put off by it. That was the official

and we made a plan for future editions: new editions of books that were already in print, books for which he

reason for banning it. And it’s still banned today.

had pasted together dummies but never found a pub-

I wrote Mick Jagger a few letters, and he replied to

lisher, and new books from his material. His life’s work

one but didn’t give his permission to release it. The

was thus available from Steidl … and so we decided to

compromise is that we can now show the film in exhibi-

also add the films.

tions, but it won’t be included in the digitized complete

What was the state of the source material, the prints and

edition. We put in a few outtakes that are really good,

negatives?

but it’s still a fragment. The other films, by contrast,

None of the films had ever been properly archived; in

were all reviewed and authorised by Robert.

other words, Robert had simply stacked up the 16 mm

To what extent was Frank influenced by clients in his films?

or 35 mm film reels and the videos at his home on

Sometimes those funding the films wanted to have a

Bleecker Street. Nothing was in the National Gallery

say in their making. Even Alfred Leslie, the co-director

— it was all in his house. We then persuaded Laura

of “Pull My Daisy”. But in most cases Robert was able

Israel to restore and digitize the films for us, which

to prevail in the end. He always made any compro-

took her ten years. She has a wonderful understanding

mises very pragmatically, in order not to alienate the

of his work and has managed since 1994 to digitize all

people he had worked with all his life: the partners

of his film titles. She color-corrected the picture and

who financed his films, his actors, his printers in the

cleaned up the audio tracks. Then Robert watched

darkroom, his publishers. So that they could all survive.

the restored films and gave her tips on where she

And so that the friendships didn’t break up.

might find various outtakes that were missing from that

And it didn’t occur to any of them to restore all of this

particular version. He still had a collection of cans on

material?

Bleecker Street, in the stairwell … So the prints were not in a final state.

Robert himself doesn’t have much drive in this respect, because he’s only interested in what he’s doing at

In some films, especially the short ones, there were

this moment, on this very day. His galleries weren’t

spots that had been dilettantishly patched together;

interested because there would be nothing to sell. And

these spots in the film reel were then wrinkled or torn,

a normal arthouse cinema or distributor doesn’t tackle

and sometimes even crumbling. But they only amount

projects like this. We made high-resolution digital files

to seconds or minutes. That’s simply his attitude:

and we’re now in the final stages. These files can be

People shouldn’t treat my photos with so much

used for archival purposes, digital projection and for

respect, he once said to me. Were the films all unique pieces then? Weren’t there any prints that he had made for lending out?

creation of DVDs. Is Frank still making films? Whether on Bleecker Street in New York or in Mabou,

Professional prints had only been made of very few of

there are cameras lying around everywhere: 16mm,

his films. In our restoration work, we viewed the out-

Super 8, video cameras, all models, and he still has

takes separately; sometimes they were then integrated

cassettes and film cans scattered around. And when

into the films, and sometimes not. I’m satisfied with

he feels like it, he grabs a camera and shoots a scene.

this film, Robert said, so nothing needs to be changed.

I know a spot in his house where there are piles of

The famous example is of course “Cocksucker Blues”,

undeveloped film material.

where he had a completely different vision for the film than his client, the Rolling Stones. They had actually wanted a music film, with lots of scenes on stage, and Robert wanted to show more what went on behind the scenes.

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Robert Frank on set. Photos by John Cohen

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Robert Frank on making films

“In 1958, right after finishing The Americans, I made my first film. I knew film was first choice. Nothing comes easy, but I love difficulties, and difficulties love me.” “A decision: I put my Leica in a cupboard. Enough of lying in wait, pursuing, sometimes catching the essence of the black and the white, the knowledge where God is. I make films. Now I speak to the people in my viewfinder. Not simple and not especially successful.” “Since being a filmmaker I have become more of a person. I am confident that I can synchronize my thoughts to the image, and that the image will talk back — well it’s like being among friends. That eliminated the need to be alone and take pictures.” “I’m filming the outside in order to look inside.” “All will have to come from inside me. No help looking through the viewfinder and choosing the Decisive Moment. That’s where it starts, the difference between doing stills and doing a film. I find it very difficult to organize, to control and to discipline my thinking before I step into the doing of it. I feel a filmmaker must express first what he feels — what’s happening to him.” “The truth is somewhere between the documentary and the fictional, and that is what I try to show. What is real one moment has become imaginary the next. You believe what you see now, and the next second you don’t anymore.” “The films I have made are the map of my journey thru all this … living. […] I want you to see the shadow of life and death flickering on that screen.” Quotes taken from Frank Films. The Film and Video Works of Robert Frank, edited by Brigitta Burger-Utzer and Stefan Grissemann

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Robert Frank on the set of Pull My Daisy. Photo by John Cohen

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List of films

Pull My Daisy (1959) Considered one of the most important works of avant-garde cinema, “Pull My Daisy”, made with Alfred Leslie, tells the story of a bishop and his mother who pay a visit to Milo, a railroad worker. At the same time his poet friends hang around quizzing the bishop about the meaning of life and its everyday relationship to art and poetry. The Sin of Jesus (1961) Robert Frank’s second film is one of his most stylized and reflects Frank’s increasingly sophisticated cinematographic eye. Based on a short story by Isaac Babel, this parable finds Jesus refusing mercy to a young woman, instead giving her a guardian angel that she seduces. OK End Here (1963) A day in the lives of a man and woman who live together in New York City. It is Sunday, a day without the distractions that keep people from facing each other and themselves. Me and My Brother (1968) Constantly delineating real and imaginary situations and moving back and forth between color and black and white, the film describes the inner and outer worlds of Julius, a catatonic, who silently observes the world around him. Conversations in Vermont (1969) Frank visits and interviews his son and daughter Pablo and Andrea who live in the countryside. A film about past and present and the story of a father’s relationship with his two teenage children. Life-Raft Earth (1969) Frank’s documentary about “The Hunger Show,” a weeklong fast staged by the Portola Institute in California which took place from 11 October to 18 October 1969 in a parking lot in Hayward. This was a “happening” designed to make the problem of world hunger and malnutrition a personal matter for participants and observers. About Me: A Musical (1971) Frank examines his life symbolically, by borrowing an actress to represent him, and questions the personal toll his work has taken and the value of his contribution as a photographer. His search for freedom is represented by the music.

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Keep Busy (1975) A spontaneous, improvised story about a group of people living on an island near Cape Breton. Obsessed with daily aspects of their lives and the cycles of nature, the group is subjugated by a lighthouse keeper and his messenger, who have access to the only radio and therefore control the news. Frank’s home in Nova Scotia serves as a backdrop. S-8 Stones Footage From Exile on Main Street (1971) A roll of super 8 film footage of the Stones wandering around the Bowery in NYC. Individual frames were later enlarged to create the Stones album cover for Exile on Main Street. Original outtake footage, unedited, black and white, silent. Life Dances On (1980) The film is dedicated to Frank’s daughter Andrea and to his friend and collaborator Danny Seymour, both deceased. “Life Dances On” is composed of delicately balanced, intuitive moments that merge Frank’s own sense of loss for two people close to him with several filmed portraits of those who share his life, including his family and people on the streets in New York City. Energy and How to Get It (1981) What began as a documentary film about Robert Golka, an engineer who was experimenting with ball lightening and the development of fusion as an energy force, was turned into a spoof on the documentary form, inserting fictional characters into the story such as the Energy Czar, and a Hollywood agent. This Song for Jack (1983) The film is dedicated to Frank’s late friend Kerouac. Home-movie-like footage shot mostly on the Chautauqua lodge porch during a conference celebrating the twentyfifth anniversary of On the Road, featuring Allen Ginsberg, William Burroughs, John Clellon Holmes, Gregory Corso, Herbert Huncke, Michael McClure, Edie Kerouac, Carl Solomon, Kens Kesey & Babbs, Abbie Hoffman, David Amram, Ann Charters, Joyce Johnson, Jack Micheline, Andy Clausen and others. Ginsberg and Corso Reading (1984) Frank had just bought his first video camera when he shot Allen Ginsberg and Gregory Corso reading their poetry at his home on Bleecker Street. Ginsberg reads “White Shroud,” which like his earlier work, “Kaddish,” was about his mother. Frank wanted to turn “Kaddish” into a film but eventually the project led to the making of “Me and My Brother.” In addition, Gregory Corso reads a poem he stayed up writing the night before as Allen Ginsberg listens. Unedited original VHS video footage.

Film stills from About Me: A Musical (1971)

Home Improvements (1985) A film diary which tells the story of how Frank’s second wife June Leaf becomes ill and has to have surgery. With mixed feelings, Frank sets off to visit his son Pablo in a psychiatric clinic. His thoughts and actions all revolve around the past and his attempts to free himself of its remnants. Hunter (1989) An American in Germany’s Ruhr valley. His name is Hunter, and he’s touring the area around Duisburg. Somewhere between the Rhine and Ruhr rivers, in the country’s industrialized Midwest, he meets some locals. His attempts to establish contact with the people there are unsuccessful. But he keeps trying to understand how people cope living in this area. C’est Vrai (One Hour) (1990) A single-take account of Frank and actor Kevin O’Connor either walking or riding in the back of a mini-van through a few blocks of Manhattan’s Lower East Side, capturing the somewhat uncanny coziness and intimacy of New York street life. Last Supper (1992) In an empty lot in Harlem, an elite group of New Yorkers prepares for a book-signing party given in honor of a writer who never shows up. Local residents, dealing with the practicality of life, look on as the guests obsess about identity, status, and success. Finally, the writer’s fears and doubts are understood, with ironic implications. Moving Pictures (1994) This silent work deals with Robert Frank’s transition from photography to film and his search for a “solid form of expression.” Frank assembled his own photographs in temporal and spatial sequences: one is laid atop another, photo albums are flipped through; strips of prints are filmed with a slow and probing gaze. The Present (1996) An attempt to connect with the things, people, animals, with events in front of the camera — and with the film’s potential viewers. Flamingo (1996) Laborers arrive to work on the house in Nova Scotia where Frank lives with his wife June. An addition to the house is planned to provide an even better view of the ocean. In Frank’s film, routine movements, the precision and speed with which they work, become organic shapes and processes, similar to a stack of paper fluttering in the wind.

What I Remember from My Visit (with Stieglitz) (1998) Frank questioned his role as a photographer and filmmaker through the alter ego of other artists on various occasions. In this case, he borrows the identities of the great American photographer Alfred Stieglitz (played by Frank) and his wife, painter Georgia O’Keeffe (played by Frank’s wife June Leaf), with whom he shared a similar life story. In this film Frank evokes once again his own biography, private life and work as a photographer. San Yu (2000) In Paris and Taiwan, Robert Frank sets off on a search for traces of a friend, the painter San Yu, who died in 1966 at the age of sixty-five. A requiem which documents the story of the film’s own production. Fragments (2000) Video installation created to accompany the photo exhibit Hold Still – Keep Going. Underneath footage of a snake handler from a zoo in Egypt runs text from a letter written to Robert Frank from Dominique Edie, anticipating their meeting in Beirut and collaboration on a film that was never finished. Paper Route (2002) The filmmaker once again sets off on a journey, this time a paper route: he accompanies Bobby McMillan, a wiry, highspirited paperboy, on his evening route around Mabou, Nova Scotia. One hundred fifty-eight subscribers, each with a name and a story, and Bobby knows every one of them. The Tunnel (2005) Commissioned to premiere under the Swiss Alps at an event held during final blasting through the midpoint of the 21-mile Lötschberg Tunnel in 2005. True Story (2004/08) Speaking in voiceover, the artist narrates scenes shot in his homes in New York and Nova Scotia. His rambling commentary returns to familiar themes of memory, and the loss of friends and family members. Brief excerpts from earlier films are shown, along with Frank’s photographs, the art of his wife, June Leaf, and extraordinarily detailed letters written by his son, Pablo (1951–1994). Alternately poignant, reflective, self-mocking and angry, this candid autobiography reveals Frank’s late career preoccupations. Fernando (2008) An homage to Frank’s lifelong friend Fernando, a Swiss artist who passed away.

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SAVE THE DATE: ROBERT FRANK BOOKS AND FILMS, 1947–2016

Robert Frank was born in Zurich in 1924 and immigrated to the United States in 1947. He is best known for his seminal book The Americans, first published in 1959, which gave rise to a distinctly new form of the photobook, and his experimental film “Pull My Daisy,” made in 1959. Frank’s other important projects include the books Black White and Things (1954), Lines of My Hand (1972), and the film “Cocksucker Blues” for the Rolling Stones (1972). He divides his time between New York City and Nova Scotia, Canada.

28 JANUARY – 12 FEBRUARY 2016 THURSDAY, 28 JANUARY 2016, 6 PM VERNISSAGE AND CONVERSATION WITH ROBERT FRANK AND GERHARD STEIDL AT NYU’S TISCH SCHOOL OF THE ARTS 721 BROADWAY, 8TH FLOOR NEW YORK, NY 10003

Robert Frank Film Works Digitization and mastering: Laura Israel, Assemblage Inc. Film archival: Andrew Lampert Digital standard conversions: Ben Vaughn, Devlin Video DVD mastering: DuArt Film and Video 4 DVDs (both PAL and NTSC included, all without country code) with 4 books housed in a wooden box DVDs: Disc 1 / 215 mins 1 “Pull My Daisy” (1959), 28 mins 2 “The Sin of Jesus” (1961), 40 mins 3 “OK End Here” (1963), 30 mins 4 “Me and My Brother” (1968), 91 mins 5 “ Conversations in Vermont” (1969), 26 mins Disc 2 / 195 mins 6 “Life-Raft-Earth” (1969), 37 mins 7 “About Me: A Musical” (1971), 35 mins 8 “Keep Busy” (1975), 30 mins 9 “ S-8 Stones Footage From Exile on Main Street” (1971), 5 mins 10 “ Life Dances On” (1980), 30 mins 11 “ Energy and How to Get It” (1981), 28 mins 12 “ This Song for Jack” (1983), 30 mins

Disc 3 / 198 mins 13 “ Ginsberg and Corso Reading” (1984), 20 mins 14 “ Home Improvements” (1985), 30 mins 15 “ Hunter” (1989), 36 mins 16 “ C’est Vrai” (One Hour) (1990), 60 mins 17 “ Last Supper” (1992), 52 mins

Pull My Daisy / Texts With an introduction by Jerry Tallmer Story by Jack Kerouac, lyrics by Jack Kerouac and Allen Ginsberg 32 pages Full screenplay of the movie “Pull My Daisy” (1959)

Disc 4 / 186 mins 18 “ Moving Pictures” (1994), 27 mins 19 “ The Present” (1996), 27 mins 20 “ Flamingo” (1996), 10 mins [English and Swedish] 21 “ What I Remember from My Visit (with Stieglitz) (1998)”, 7 mins 22 “ San Yu” (2000), 27 mins 23 “ Fragments” (2000), 5 mins 24 “ Paper Route” (2002), 30 mins 25 “ The Tunnel” (2005), 5 mins 26 “ True Story” (2004/08), 26 mins 27 “ Fernando” (2008), 12 mins

Frank Films 272 pages ed. by Brigitta Burger-Utzer and Stefan Grissemann This book is dedicated to Frank’s film and video oeuvre. Containing film-stills, essays and summaries of each film, as well as comprehensive bibliographic and technical data, it is the definitive companion to Frank’s films. With essays by Michael Barchet, Philip Brookman, Stefan Grissemann, Kent Jones, Thomas Mießgang, Pia Neumann, Bert Rebhandl, Amy Taubin Interview with Allen Ginsberg

Books: Me and My Brother 72 pages Facsimile of the screenplay with notes and documentation of the film “Me and My Brother” (1968) Pull My Daisy / Photos by John Cohen 56 pages Tritone Still photographs by John Cohen documenting the making of “Pull My Daisy” (1959)

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Top left to bottom right: Handmade plywood suitcase, DVD set, Me and My Brother (screenplay), Pull My Daisy (still photographs), Pull My Daisy (texts), Frank Films

All books: 8.3 × 11.7 in / 21 × 29.7 cm Tritone and four-color process Softcovers Handmade plywood suitcase, with light gray finish and screen-printed text on lid: 13.8 × 9.2 × 2 in. / 35 × 23.4 × 5 cm € 150.00 / £ 120.00 / US$ 175.00 ISBN 978-3-95829-036-5

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Yet another precious volume in his celebrated series of visual diaries, Was haben wir gesehen / What we have seen is all about people and places in the long and very convivial life of Robert Frank. Auspiciously opening and closing with the zoom on the dial of a clock tower,

Robert Frank was born in Zurich in 1924 and immigrated to the United States in 1947. He is best known for his seminal book The Americans, first published in 1959, which gave rise to a distinctly new form of the photobook, and his experimental film “Pull My Daisy,” made in 1959. Frank’s other important projects include the books Black White and Things (1954), Lines of My Hand (1972), and the film “Cocksucker Blues” for the Rolling Stones (1972). He divides his time between New York City and Nova Scotia, Canada.

Ayumi and June

serving as a reminder of the silent but constant passage of time, the book is heavy with memories and pictures of old photographs. Like a leitmotif carrying us through the images, the word “souvenir” pops up under a magnifying glass positioned on a French text as a reading device. Frank’s house in Mabou is once again portrayed as a popular hideaway for people like Jack Kerouac, Gerhard Steidl, Allen Ginsberg, William Burroughs and his family members. Frank’s visual diaries constitute an important part of both his later work and the ongoing art of the photobook. memories with time go away and stay silently / i say yes

7 Bleecker Street, 1974

— A-chan

New Mexico, 1964 William S. Burroughs

Robert Frank Was haben wir gesehen What we have seen Texts by Robert Frank and Ayumi Yamazaki Book design by Robert Frank, A-chan, and Gerhard Steidl 48 pages 8.8 × 9.8 in. / 20.5 × 25 cm 46 black-and-white and color photographs Tritone and four-color process Softcover in a slipcase € 25.00 / £ 22.00 / US$ 30.00 ISBN 978-3-95829-095-2

John Angus Beaton

Mabou, 1980

Slipcase 24

Book 25

Fed by thrilling recent discoveries from Saul Leiter’s vast archive, In My Room provides an in-depth study of the nude, through intimate photo­ graphs of the women Leiter knew. Showing deeply personal interior Saul Leiter was born in Pittsburgh in 1923. In 1946 he moved to New York to become a painter, but was encouraged to pursue photography by the photographic experimentation and influence of his friend, the abstract expressionist Richard Pousette-Dart. Leiter subsequently enjoyed a successful career as a fashion photographer spanning three decades, and his images were published in magazines such as Esquire, Harper’s Bazaar, Elle and British Vogue. His work is held in many prestigious private and public collections including the Museum of Modern Art, the Whitney Museum of American Art and the Victoria and Albert Museum. Steidl has published Leiter’s Early Color and Early Black and White. Leiter died in November 2013.

spaces, often illuminated by the lush natural light of the artist’s studio in New York City’s East Village, these black-and-white images reveal the unique collaboration between Leiter and his subjects. In the 1970s, Leiter planned to make a book of his nudes, but never realized the project in his lifetime. Now we are granted a first-time look at this body of work, which Leiter began on his arrival in New York in 1946 and chipped away at over the next two decades. Leiter, who was also a painter, incorporates abstract elements into these photographs and often shows the influence of his favorite artists, including Bonnard, Vuillard and Matisse. The prolific Leiter, who painted and took pictures fervently up to his death, worked in relative obscurity well into his eighties. Leiter preferred solitude in life, and resisted any type of explanation or analysis of his work. With In My Room, Leiter ushers viewers into his private world while retaining his strong sense of mystery. Saul Leiter saw the world in layers of focus and obstruction, available to peel away and internalize an intimate core of human experience. He accomplished this, most profoundly, by allowing your entrance “into his room,” where ladies languished for his camera and your eyes only. Ever sensitive, sensual and evocative, these images will compel you to fall in love. — Howard Greenberg

Saul Leiter In My Room Foreword by Robert Benton Book design by Steidl Design 192 pages 7.9 × 8 in. / 20 × 20.3 cm 85 black-and-white photographs Tritone Clothbound hardcover with dust jacket € 38.00 / £ 32.00 / US$ 45.00 ISBN 978-3-95829-103-4

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In Boksburg was published in 1982 as one of the earlier photobooks made in South Africa. David Goldblatt, himself from a white background and a critical observer of the dynamics inherent in the racist David Goldblatt, born in Randfontein in 1930, is a definitive photographer of his generation, esteemed for his engaged depiction of life in South Africa over a period of more than fifty years. Goldblatt took up photography full time in 1963. His work concerns above all human values and is a unique document of life during and after apartheid. Goldblatt received the Hasselblad Award in 2006. His photographs are held in major international collections, and his solo exhibitions include those at the Museum of Modern Art in New York in 1998, and the Fondation Henri Cartier-Bresson in Paris in 2011. In 1989 Goldblatt founded the Market Photo Workshop in Johannesburg to teach visual literacy and photography especially to those disadvantaged by apartheid.

set-up of his native country, had become interested in capturing the “wholly uneventful flow of commonplace, orderly life” of the white population around him. Boksburg, a legally white-only town on the eastern periphery of Johannesburg which was heavily dependent on black labor, seemed to fit best his purposes, and between 1979 and 1980 he recorded everyday scenes in the streets, shops, clubs, churches, the municipality, homes, gardens and cemetery, choosing a fly-on-the-wall approach. Despite its nuanced complexity, the essay was rejected by Optima magazine which had commissioned it. Several photographs have been added to this Steidl edition, and it contains a new essay by Sean O’Toole, providing keen insight into the history of the book and the story behind the photographs and their subjects. Boksburg is shaped by white dreams and white proprieties. Most of its townspeople pursue the family, social and civic concerns of respectable burghers anywhere, while locked into a deep and portentous fixity of self-elected legislated whiteness. Blacks are not of this town. They serve it, trade with it, receive charity from it and are ruled, rewarded and punished by its precepts. Some are its privileged guests. But all who go there do so by permit or invitation, never by right. — David Goldblatt in his introduction, 1982

David Goldblatt In Boksburg Texts by David Goldblatt and Sean O’Toole Book design by Sarah Winter 104 pages 9.8 × 10.2 in. / 25 × 26 cm 77 black-and-white photographs Tritone Clothbound hardcover with dust jacket € 45.00 / £ 38.00 / US$ 50.00 ISBN 978-3-86930-796-1

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Trees have been a subject of lifelong engagement for Robert Adams, and no species has enthralled him more than the cottonwood. Revered by the Plains Indians, native cottonwoods animate the landRobert Adams, born in 1937 in New Jersey, has photographed the geo­ graphy of the American West for over forty years. His work has been widely exhibited both in Europe and the United States, including in the seminal 1975 exhibition “New Topographics: Photographs of a Man-­ ­ Altered Landscape.” His more than forty publications include What We Bought, Our Lives and Our Children, and Turning Back. Steidl has published Gone? (2010), Tree Line (2010) and The Place We Live (2013). Adams is a recipient of a MacArthur Fellowship, the Spectrum International Prize for Photo­ graphy, the Hasselblad Award, two National Endowment for the Arts fellowships and the Deutsche Börse Photo­graphy Prize.

scape unforgettably but their thirst for water and lack of commercial value have made them common targets for removal by agribusiness and housing developers. Some of Adams’s earliest pictures were of cottonwoods, and he photographed them throughout the thirty-five years he lived in Colorado. Originally published by the Smithsonian in 1994 as a part of the series “Photographers at Work,” this new edition of Cottonwoods has been expanded and enlarged. Cottonwoods can seem human — they seem to rejoice, and they seem to suffer. But they also know a stillness that we can’t experience, at least not for long. — Robert Adams

Robert Adams Cottonwoods Interview by Constance Sullivan Series editor: Joshua Chuang 72 pages 9.8 × 11.8 in. / 25 × 30 cm 42 black-and-white photographs Quadrotone Clothbound hardcover with dust jacket € 45.00 / £ 38.00 / US$ 50.00 ISBN 978-3-95829-096-9

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One day in the early 1970s, Robert Adams and his wife saw from their home a column of smoke rise above the Rocky Flats Nuclear Weapons Plant, near Denver, Colorado. For an hour they watched the plume Robert Adams, born in 1937 in New Jersey, has photographed the geo­ graphy of the American West for over forty years. His work has been widely exhibited both in Europe and the United States, including in the seminal 1975 exhibition “New Topographics: Photographs of a Man-­ ­ Altered Landscape.” His more than forty publications include What We Bought, Our Lives and Our Children, and Turning Back. Steidl has published Gone? (2010), Tree Line (2010) and The Place We Live (2013). Adams is a recipient of a MacArthur Fellowship, the Spectrum International Prize for Photo­ graphy, the Hasselblad Award, two National Endowment for the Arts fellowships and the Deutsche Börse Photo­graphy Prize.

grow, tried without success to learn whether the fire involved the radioactive and extremely toxic plutonium, and experienced a sense of helplessness before what appeared to be a nuclear accident in progress. Ultimately it was announced that the fire was burning safely outside the plant, but as a result of their hour of uncertainty Adams decided to try to picture what of worth — absolute worth — stood to be lost in a nuclear catastrophe. Adams photographed Our Lives and Our Children in Denver and its suburbs; the individuals shown were within hazardous proximity of the Rocky Flats Plant. Their peril is representative, however, of a wider threat to all of us from nuclear weapons, one that continues in different forms to this day. The new Steidl edition of Our Lives and Our Children presents an expanded sequence of pictures that retains the potent compactness of the sought-after first edition (out of print for nearly three decades), while faithfully expressing the full-bodied tonalities of Adams’s original prints. The plutonium triggers built at risk to Denver become part of a worldwide system so open to error and malfunction that it is reasonable to believe many of us will, at a scarcely imaginable but exact time, die from them. If we confront this conclusion we want almost at once to give up, to be free of what seems impossible hope. — Robert Adams

Robert Adams Our Lives and Our Children: Photographs Taken Near the Rocky Flats Nuclear Weapons Plant 1979–1983 Series editor: Joshua Chuang 160 pages 8.9 × 10.5 in. / 22.8 × 26.6 cm 104 black-and-white photographs Quadratone Clothbound hardcover with dust jacket € 45.00 / £ 38.00 / US$ 50.00 ISBN 978-3-95829-097-6

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The open American West is nearly gone. The New West is a photographic essay about what came to fill it — freeways, tract homes, low-rise business buildings and signs. In five sequences of pictures Robert Adams, born in 1937 in New Jersey, has photographed the geo­ graphy of the American West for over forty years. His work has been widely exhibited both in Europe and the United States, including in the seminal 1975 exhibition “New Topographics: Photographs of a Man-­ ­ Altered Landscape.” His more than forty publications include What We Bought, Our Lives and Our Children, and Turning Back. Steidl has published Gone? (2010), Tree Line (2010) and The Place We Live (2013). Adams is a recipient of a MacArthur Fellowship, the Spectrum International Prize for Photo­ graphy, the Hasselblad Award, two National Endowment for the Arts fellowships and the Deutsche Börse Photo­graphy Prize.

taken along the front wall of the Colorado Rocky Mountains, Robert Adams has documented a representative sampling of the whole suburban Southwest. These views have a double power. At first they shock; normally we try to forget the commercial squalor they depict. Slowly, however, they reveal aspects of the geography — the shape of the land itself, for example — that are beyond man’s harm. Adams has written that “all land, no matter what has happened to it, has over it a grace, an absolutely persistent beauty,” and his photographs show this. Originally published in 1974, The New West is now regarded as a classic, standing alongside Walker Evans’s American Photographs and Robert Frank’s The Americans in the pantheon of landmark volumes of photography exploring American culture and society. This new edition marks the book’s fortieth anniversary and the beginning of a longterm commitment by Steidl to publish the full extent Robert Adams’s remarkable body of work. The subject of these pictures is … not tract homes or freeways but the source of all Form, light. The Front Range is astonishing because it is overspread with light of such richness that banality is impossible. Even subdivisions, which we hate for the obscenity of the speculator’s greed, are at certain times of day transformed to a dry, cold brilliance. — Robert Adams, from his introduction to The New West

Robert Adams The New West Series edited by Joshua Chuang Foreword by John Szarkowski Original book design by Paul Weaver Introduction by Robert Adams 136 pages 9 × 9.9 in. / 22.8 × 25.2 cm 56 black-and-white photographs Tritone Clothbound hardcover with dust jacket € 35.00 / £ 28.00 / US$ 40.00 ISBN 978-3-86930-900-2

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By the mid-1940s, Gordon Parks was a successful photographer and Ralph Ellison began work on his acclaimed novel Invisible Man (1952). It is relatively unknown, however, that the two men were friends and Gordon Parks was born in Fort Scott, Kansas, in 1912. An itinerant laborer, he worked as a brothel pianist and railcar porter, among other jobs, before buying a camera at a pawnshop, training himself, and becoming a photographer. In addition to his storied tenures photographing for the Farm Security Administration (1941–1945) and Life magazine (1948– 1972), Parks evolved into a modern-day Renaissance man, finding success as a film director, writer and composer. He wrote numerous memoirs, novels and books of poetry, and received many awards, including the National Medal of Arts and more than fifty honorary degrees. Parks died in 2006. Ralph Ellison was born in Oklahoma City in 1913. He enrolled at Booker T. Washington’s Tuskegee Institute in Macon County, Alabama, as a music major and later turned to writing essays and short stories. By 1945 he signed a contract to begin writing what was to become Invisible Man (1952), which won the National Book Award in 1953 but remained the only novel published during his lifetime. Ellison published two subsequent collections of essays: Shadow and Act (1964) and Going to the Territory (1986). Ellison died in 1994.

that their common vision of racial injustice inspired collaboration on two important projects, in 1948 and 1952. Parks and Ellison first joined forces on an essay titled “Harlem Is Nowhere” for ’48: The Magazine of the Year. Conceived while Ellison was already writing Invisible Man, this illustrated essay was centered on Harlem’s Lafargue Mental Hygiene Clinic—the first non-segregated psychiatric clinic in New York City—as a case study for the social and economic conditions of the neighborhood. He chose Parks to create the accompanying photographs and during the winter months of 1948, the two roamed the streets of Harlem. In 1952 they worked together again on “A Man Becomes Invisible” for the August 25 issue of Life magazine, which promoted Ellison’s newly released novel. This is the first publication on Parks’ and Ellison’s collaboration on these two projects, one of which was lost while the other was published only in reduced form. The catalogue provides an in-depth look at the artists’ shared vision of black life in America, with Harlem as its nerve center. Exhibition: The Art Institute of Chicago, 21 March to 28 August 2016 Co-published with The Gordon Parks Foundation and The Art Institute of Chicago

Gordon Parks Invisible Man: Gordon Parks and Ralph Ellison in Harlem Foreword by Peter W. Kunhardt, Jr., and Douglas Druick Introductions by Matthew S. Witkovsky and John F. Callahan Essays by Michal Raz-Russo and Jean-Christophe Cloutier Book design by Duncan Whyte, Gerhard Steidl and Peter W. Kuhnhardt, Jr. 128 pages 9.8 × 11.4 in. / 25 × 29 cm 79 black-and-white photographs Four-color process Clothbound hardcover with dust jacket € 38.00 / £ 30.00 / US$ 45.00 ISBN 978-3-95829-109-6

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In 1994, the modest working class neighborhood of Sunset Park in Santa Monica, California, had not yet been gentrified. From all outward appearances, it looked quite similar to when Douglas Aircraft Born in New Jersey in 1942, Henry Wessel has been awarded two Guggenheim Fellowships and three fellowships from the National Endowment for the Arts. He has exhibited extensively including solo shows at the Museum of Modern Art in New York, the Museum of Contemporary Art in Los Angeles, and Tate Modern in London. Steidl has published eight of Wessel’s books, including Waikiki (2011) and Incidents (2013).

brought 40,000 factory workers to the district in the 1940s. Henry Wessel had photographed Sunset Park in daylight over decades on his trips to Los Angeles while staying at a friend’s house in the area. Yet in time he became fascinated with the neighborhood’s transformation at night into a strange, almost spooky place that looked right out of a Raymond Chandler crime novel. The still photographs published in this book are the definitive edit of this project, which all in all lasted for four years. Their descriptive content co-exists with an expressive, almost noir-ish quality of form and content that simultaneously gives us photographic fact and evokes narrative speculation. You can’t help but notice how the world is reconfigured by the lights at night. The spot lighting of particular areas, the lack of ambient light, the unnatural way that shadows are cast, all take us to an unfamiliar place … — Henry Wessel

Henry Wessel Sunset Park Book design by Henry Wessel and Gerhard Steidl 112 pages 11.6 × 11.6 in. / 29.5 × 29.5 cm 50 black-and-white photographs Tritone Clothbound hardcover with a tipped-in photo € 40.00 / £ 35.00 / US$ 50.00 ISBN 978-3-95829-113-3

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In the early 1980s, photographer Henry Wessel — for the sake of a steady paycheck — frequently commuted from Richmond, California, to San Francisco in the early morning rush hour. Surrounded by Born in New Jersey in 1942, Henry Wessel has been awarded two Guggenheim Fellowships and three fellowships from the National Endowment for the Arts. He has exhibited extensively including solo shows at the Museum of Modern Art in New York, the Museum of Contemporary Art in Los Angeles, and Tate Modern in London. Steidl has published eight of Wessel’s books, including Waikiki (2011) and Incidents (2013).

other versions of himself — encapsulated drivers making their own way to work — the daily drill seemed daunting and hopeless. With resignation however came inspiration. The monotonous movement of stop-and-go vehicles allowed Wessel a quick peek into the other cars, and for a brief moment — illuminated by the bright axial morning sunlight — he witnessed instances of determination, impatience and blank boredom. And so he began to photograph his fellow commuters as they slowly ploughed through traffic. These circumstances allowed for only a glance, but it is all Wessel’s intuitive eye needed. When you’re photographing, you’re walking through the world, something catches you — you’re connecting with it, you’re responding to it, you’re saying yes to it. — Henry Wessel

Henry Wessel Traffic Book design by Henry Wessel and Gerhard Steidl 68 pages 11.6 × 11.6 in. / 29.5 × 29.5 cm 27 black-and-white photographs Tritone Clothbound hardcover with a tipped-in photo € 40.00 / £ 35.00 / US$ 50.00 ISBN 978-3-95829-114-0

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Running from the Bering Sea to the Strait of Magellan along the main ranges of the Rocky Mountains and the Andes, the Continental Divide is the largest watershed in the Americas. Henry Wessel crisscrossed Born in New Jersey in 1942, Henry Wessel has been awarded two Guggenheim Fellowships and three fellowships from the National Endowment for the Arts. He has exhibited extensively including solo shows at the Museum of Modern Art in New York, the Museum of Contemporary Art in Los Angeles, and Tate Modern in London. Steidl has published eight of Wessel’s books, including Waikiki (2011) and Incidents (2013).

this natural barrier thirty-four times by car, photographing its changing landscape. On his way, he sometimes stopped and took photographs of house fronts, shacks, street corners, and of the highway seen through the windscreen, ending somewhere beyond the horizon. We accompany Wessel on this road-trip that reflects the gradual environmental change from inhabited grounds to austere landscapes, and are reminded of the inherent aesthetics of the everyday. Its literal description evokes feelings that cumulatively connect to establish an experience. Henry Wessel’s photographs do, in some measure, show us what today’s West looks like. Primarily, however, they are subjective reports of what it felt like to travel through a certain region. They evoke the experience of confronting the peculiar juxtaposition of vast nothingness and clutter that is now the American West. — Dennis Longwell

Henry Wessel Continental Divide Book design by Henry Wessel and Gerhard Steidl 68 pages 11.6 × 11.6 in. / 29.5 × 29.5 cm 27 black-and-white photographs Tritone Clothbound hardcover with a tipped-in photo € 40.00 / £ 35.00 / US$ 50.00 ISBN 978-3-95829-115-7

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In 1988 Santu Mofokeng joined the staff of the African Studies

Concert at Sewefontein

Institute at the University of the Witwatersrand as a documentary photographer and began to record the lives of tenant laborers in Santu Mofokeng was born in Johannesburg in 1956. After working as a darkroom assistant for various newspapers, he joined Afrapix, a collective of photographers dedicated to the struggle against apartheid. His interest in depicting ordinary township life, however, led him to work for the African Studies Institute at Wits University as a documentary photographer and researcher from 1988 until 1998. Over the past three decades, Mofokeng has created an incomparable, open-ended body of work that probes the meaning and authority of photographic images while subverting stereotypical notions of the black South African experience. In 2011 a retrospective of Mofokeng’s work opened at the Jeu de Paume in Paris before traveling internationally, and in 2013 he represented Germany at the Venice Biennale.

the unremarkable township of Bloemhof. Over the next several years Mofokeng amassed what could be considered the core of his larger body of work — a set of interconnected photo-essays centering on the Maine family, with whom he stayed. Highly distilled yet immersive, Books 2 through 4 of the series Santu Mofokeng Stories form a loose trilogy that describes how the residents of Bloemhof unwind, bury one of their own, and gathered together on one of the most consequential days in South African history. I had traveled 340 km to a remote place where on my first arrival I thought it was beyond hope. It is a landscape that is bleak, the weather and soil, inclement to farming. A land where by my own light, the Verwoedian dream was in place. Well, almost. — Santu Mofokeng

Funeral

Santu Mofokeng Stories: Concert at Sewefontein — Funeral — 27 April 1994 Edited by Santu Mofokeng and Joshua Chuang Three sewn softcover booklets in an envelope Quadratone Each book 9.5 × 12.6 in. / 24 × 32 cm

27 April 1994

Book 2: 36 pages, 17 black-and-white photographs Book 3: 44 pages, 21 black-and-white photographs Book 4: 32 pages and a gatefold, 19 black-and-white photographs € 45.00 / £ 38.00 / US$ 55.00 ISBN 978-3-95829-104-1

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In his new book, Robert Polidori presents us with a single large-format photograph of a city block in an improvised, auto-constructed settlement in Mumbai, India. In an almost seamless déroulement Robert Polidori was born in Montreal in 1951 and today lives in Los Angeles. His work has been the subject of exhibitions in New York, London, Brazil and Montreal, among others. He received the World Press Photo Award in 1997, the Alfred Eisenstaedt Award for Magazine Photography in 1999 and 2000, and Communication Arts awards in 2007 and 2008. In 2006, Polidori’s series of photographs of New Orleans after Hurricane Katrina was exhibited at the Metropolitan Museum of Art. His bestselling books Havana (2003), Zones of Exclusion — Pripyat and Chernobyl (2003), After the Flood (2006), Parcours Muséologique Revisité (2009), Some Points in Between … Up Till Now (2010), and Eye and I (2014) have been published by Steidl.

that appears to expand like an accordion or folding-screen, the photograph is composed of multiple images imperceptibly overlaid and welded together in a complex process to form a panoramic view. Applying remote sensing techniques that are normally used in space cartography and street photography, Polidori ventures a photographic attempt to come to terms with the phenomena of adjacencies, observing and beholding what is next to what. In this way he minutely scans the urban landscape, recording the precarious and temporary nature of the provisional and yet psychologically rich and in fact highly individualized dwellings. Over time I started seeing human habitats as nesting phenomena. These dense types of cities superficially look like seabird rookeries. Then there seem to be two prevalent yet opposing ways that cities are made. One is the pre-planned one, and the other is what they call in French cité sauvage. They just crop up wild with no plan. Need made them. — Robert Polidori

Robert Polidori 60 Feet Road, Bhatiya Nagar Facades Text by Robert Polidori Book design by Robert Polidori, Duncan Whyte, Gerhard Steidl 96 pages 15.8 × 12.6 in. / 40 × 32 cm 25 color photographs Four-color process Clothbound hardcover with dustjacket € 75.00 / £ 65.00 / US$ 85.00 ISBN 978-3-95829-111-9

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Over the last fifteen years, Istanbul has emerged as one of the principal megacities at the outset of the twenty-first century. The picturesque has given way to an unexpected boom of new, profit-driven Paola De Pietri was born in 1960 in Reggio Emilia, where she still lives. In 2009 she won the triennial Albert Renger-Patzsch Prize. De Pietri has exhibited in many solo and group shows, including at the Venice Biennale (1997), the Galleria d’Arte Moderna, Bologna (2001), Fotomusem Winterthur (2005), the Museum of Contemporary Art, Shanghai (2006), the Museo di Fotografia Contem­ poranea, Cinisello Balsamo, Milan (2007), the Fondazione Fotografia, Modena (2010), Le Bal, Paris (2011), the MAXXI, Rome (2012), the Triennale, Milan (2013), the Leopold Museum, Vienna, and the Mart, Rovereto (2014). Steidl published her To Face in 2012.

urban development including high-rise, sterile gated communities and satellite cities to house a vastly expanding population — all at the expense of long-time residents and under the mantle of a self-­ confident and arbitrary government. Shot in 2012 and 2013, Paola De Pietri’s serene and understated photo­graphs of individuals against the backdrops of dusty construction sites and newly finished buildings focus on the impact of the changing urban landscape of Istanbul on the minds of its people. The newly created housing situations in anonymous apartment towers and detached homes interrupt human relations, shifting people’s social refuge from family and neighbors to imposed individualization and private solitude. The postures and body language reflect the precarious, unstable state of mind of a new and very mixed social stratum of domestic migrants coming to terms with unfamiliar models of life and environments, in which stray dogs linger like ghosts from the past. We are now a country which makes its dreams come true. — Recep Tayyip Erdoğan

Paola De Pietri Istanbul New Stories Texts by Paola De Pietri, Necmi Sönmez and Pier Paolo Pasolini Book design by Leftloft 96 pages 14.2 × 12.6 in. / 36 × 32 cm 40 color photographs Four-color process Clothbound hardcover € 75.00 / £ 65.00 / US$ 85.00 ISBN 978-3-95829-110-2

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In her new book, Lise Sarfati takes us back to the oddly deserted heart of the city of Los Angeles. Almost deserted… as lonesome men walk dispassionately through the streets, as if on a mission Lise Sarfati divides her time between Paris and Los Angeles. She spent ten years of her working life in Russia and has won numerous awards such as the Prix Niépce in Paris and the Infinity Award of the International Center of Photography, New York. Sarfati’s works are held in the permanent collections of, among others, LACMA Los Angeles; De Young Museum, San Francisco; and the Fonds National d’Art contemporain, Paris, France. This is her first book with Steidl.

but without any obvious destination. The sun in Oh Man is high, the unifying emptiness of the street basked in the Californian light. The nameless men’s random silhouettes stand out distinctively in front of the city’s characteristic urban backdrop, their central positioning lending them an extraordinary prominence in Sarfati’s photographs. These images add up to a long, aloof traveling, devoid of any narrative and anecdotes, drifting by the evocative sharp lines and angles of the warehouses, the lettering and colors of a Hopperian puritanism opening up the roads to the protagonists. These photographs were taken in 2012 and 2013. After carefully choosing her locations of interest, Sarfati spent days waiting in full panoply for the right moment to manifest itself. Sarfati gives us suggestions — more than propositions — that seem to develop in-between the images rather than within each image, like the unpredictable weed growing wild from the grooves between cobblestones. — Quentin Bajac Exhibitions: Camera Centro Italiano per la Fotografia, Turin, 21 January to 10 April 2016 Yossi Milo Gallery, New York, January 2017

Lise Sarfati Oh Man Essay by David Campany Book design by Lise Sarfati and Gerhard Steidl 80 pages 12.1 × 13.7 in. / 30.7 × 34.7 cm 27 color and black-and-white photographs Tritone and four-color process Clothbound hardcover in a sleeve € 50.00 / £ 45.00 / US$ 65.00 ISBN 978-3-95829-112-6

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In her latest book, Diving for Pearls, Nan Goldin presents us with almost exclusively new, unpublished work. We are invited to contemplate the sense of magic and surprising abstractness exuding from Nan Goldin was born in Washington, D.C., in 1953 and is one of the most eminent photographers of our times. She studied at the Museum of Fine Arts in Boston and since 1982 has visited and worked in Berlin on a regular basis. Goldin received the Hasselblad Photography Award in 2007, and today lives in Berlin, New York and Paris.

unintentional photographic mistakes made with an analogue camera, such as double and triple exposures, or clip marks on the negatives. Following a loose narrative, we witness Goldin’s visceral intuitive style, driven by emotions reaching deep down in all of us. The book includes a new muse in Venice, cityscapes and animals, self-portraits, Venitian interiors, mirrors and gravestones. A true token of Goldin’s lifelong dedication to her friends is deeply portrayed by her pairing of their portraits with paintings of saints that she took in museums. The striking similarities between the contemporary and the archetypical verve of past beauty exert an intense dynamic on the viewer. Diving for Pearls was conceived as an independent artist book on the occasion of Goldin’s exhibition at Hannover’s Kestner Gesellschaft. Since David Armstrong and I were young he always referred to photo­ graphy as “diving for pearls.” If you took a million pictures you were lucky to come out with one or two gems. At the beginning I thought if I didn’t have 34 good pictures out of a roll of 35 I was slipping. Over the years I got the odds — it’s a fertile period if you can take a few pictures worth remembering over a few years. — Nan Goldin Co-published with Kestner Gesellschaft, Hannover

Nan Goldin Diving for Pearls Texts by Nan Goldin, Lotte Dinse and Glenn O’Brien Book design by Nan Goldin, Gerhard Steidl and Duncan Whyte 208 pages 9.3 × 9 in. / 23.5 × 22.9 cm 169 photographs Four-color process Clothbound hardcover with a tipped-in photo € 35.00 / £ 30.00 / US$ 45.00 ISBN 978-3-95829-094-5

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One of the major French artists of her generation, Valérie Belin is famous for her numerous series of emblematic photographs. In her work, she never ceases to explore the field of the material world, Valérie Belin was born in BoulogneBillancourt in 1964. She studied photography at the École nationale des beaux-arts in Bourges and has been working as an artist since the early 1990s, exhibiting in numerous museums and galleries. Belin lives and works in Paris.

of the body, the living, of absence, and their representation, closely studying the light, the details and textures of her subjects. Following the first volume published in 2007, Steidl now presents the continuation of Belin’s oeuvre — series created between 2007 and 2014. Superimposing multiple negatives and creating interlaid compositions of intense colors or in black and white, Belin challenges our aesthetic preconceptions and tricks our vision. In addition to numerous new series, the book contains views from Belin’s exhibition at the Casa França-Brasil in Rio de Janeiro and her performance at the Centre Pompidou, “I Could Never Be a Dancer,” giving the viewer a sense of her photographs in the context of different forums. We dive into an extraordinary and rare body of work which virtuously questions material and living matter by means of an unsettling photographic language. Works featured include: “Fruit Baskets,” “Lido,” “Magicians,” “Bouquets,” “Ballroom Dancers,” “Vintage Cars,” “Têtes couronnées,” “Black-eyed Susan,” “Settings,” “Brides,” “Bob,” “Interiors,” and “Still Life.” I rely on beauty to scrutinize society’s stereotypes. — Valérie Belin

Valérie Belin Valérie Belin II Languages: English and French Edited by Patrick Remy Texts by Quentin Bajac, Dork Zabunyan and Ligia Canongia Book design by Valérie Belin 288 pages 8.8 × 11 in. / 22.4 × 28 cm 165 black-and-white and 19 color photographs Tritone and four-color process Hardcover € 68.00 / £ 58.00 / US$ 75.00 ISBN 978-3-86930-926-2

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From Michael Comte, Light

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An avid mountain climber, Michel Comte shows us in this book the mysterious glacial landscapes of Switzerland, Nepal, Tibet and the US. For this long-term project — whose photographs were mostly Michel Comte was born in Zurich in 1954 and is an autodidact photographer. In 1979, he moved to Paris to work for Chloé, at the invitation of Karl Lagerfeld. Comte has worked for Vogue and Vanity Fair, and has established himself as one of the most sought-after fashion and magazine photographers and filmmakers.

taken from open helicopters — Comte periodically returned to the same places for over a decade to record the alterations in landscape and light patterns. The sequential arrangement of the images reveals the breathtaking variety of high-lying, remote corners of the globe that are unknown and inaccessible to most of us. But it also supplies undeniable evidence of the destructive impact of climate change and the ever more rapid disappearance of this surreal and savage world. Defying the allure of classical landscape photography, Comte alternates close-up and partial details with very occasional panoramic views and abstract, vaguely suggestive structures and ambiances to expose the unpredictable, almost moody nature of the giants. In the end, it is the light that changes everything. — Michel Comte Exhibitions: Palais de Tokyo, Paris, 2016 Dongdaemun Design Plaza, Seoul, 2016

Michel Comte Light Texts by Michel Comte With contributions by Alessandro D’Angelo, Mark Harris, Carl Novick, Tyson Pilcher, Ayako Yoshida and MILK Production Book design by Jens Remes 416 pages 12.2 × 12.2 in. / 31 × 31 cm 514 black-and-white and color photographs Four-color process Clothbound hardcover € 98.00 / £ 85.00 / US$ 125.00 ISBN 978-3-95829-119-5

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While working on his book The Circle in 2005, focusing on the capricious Maremma area in Southern Tuscany, Jan Jedlička came across a short coastal strip of immense diversity at Principina a Mare Jan Jedlička was born in Prague in 1944, where he studied painting at the academy before immigrating to Switzerland in 1969. He turned to photography rather late in his career. Jedlička’s work has been exhibited at museums and galleries throughout Europe, including Kunstmuseum and Kunsthalle Winterthur, the National Gallery of Prague, CAMeC La Spezia, and the Josef Albers Museum, Bottrop. Steidl published his Il Cerchio / The Circle in 2008. Jedlička has had a long connection with Italy, and lives in Zurich and Prague.

near Grosseto. The constant atmospheric transformations of its landscape under the spell of the sky’s play of light instantly caught his attention and inspired him to return frequently between 2008 and the summer of 2015. Jedlička visited this tiny spot by the sea in all seasons and weather conditions, capturing images of vivid summer beach life, deserted parking lots and surreal wetlands bulging with abstract formations and vegetation between the water and the dunes. The black-and-white images were all taken in the range of only 200 meters, suggesting that we can discover a huge variety of spectacular natural phenomena in our most immediate environments. Jedlička is fascinated by the continuous change of the phenomena in front of our eyes, forming newly at any moment. — Heinz Liesbrock

Jan Jedlička 200 m Texts by Jan Jedlička and Urs Stahel Book design by Trix Wetter 156 pages 11.6 × 10.8 in. / 29.5 × 27.5 cm 65 black-and-white photographs Tritone Clothbound hardcover with tipped-in photo € 45.00 / £ 38.00 / US$ 55.00 ISBN 978-3-95829-101-0

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In 2004 Jitka Hanzlová was invited by EU–Japan Fest to take part in the project European Eyes on Japan, which has been inviting European photographers to Japan since 1999 to photograph people Jitka Hanzlová, born 1958 in the former ČSSR, moved to Germany in 1982. Between 1987 and 1994 she studied visual communication at Essen University with a focus on photography. She has been awarded several photography awards, including the BMW–Paris Photo Prize 2007. Her solo exhibitions include those held at the Museum Folkwang, Essen; Fotomuseum Winterthur; Stedelijk Museum, Amsterdam; Deichtorhallen Hamburg; Fundación Mapfre, Madrid; and the National Gallery of Edinburgh.

and life in the country’s various prefectures. Cotton Rose is the result of two years of travels in Gifú prefecture where Hanzlová visited cities and villages, attended ceremonies, learned Japanese and even entered into conversation with Tajima cattle, in an effort to first get to know the country, rural life, and traditions before mingling with the anonymous crowds in the cities. Nature being an important aspect even of modern Japanese culture, Hanzlová focused on the intrinsic connection between the people and their environment in a country of seemingly extreme opposites. The frail and tender cotton rose — a plant she discovered at the very beginning of her stay which, against all odds, reemerges in spring after surviving the harsh winters — came to symbolize for her the Japanese soul: fragile and tenacious at once. Right in the beginning, somewhere in the countryside, I asked: “Which role does nature play in your culture?” — And the curt answer was: “Nature is the Mother.” This became branded in my mind and influenced my vision during the entire stay. — Jitka Hanzlová

Jitka Hanzlová Cotton Rose Text by Ulf Erdmann Ziegler Book design by Jitka Hanzlová 112 pages 7.1 × 10 in. / 18 × 25.5 cm 46 photographs Four-color process Clothbound hardcover € 38.00 / £ 32.00 / US$ 45.00 ISBN 978-3-86930-127-3

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Over the course of her career, Angela Grauerholz has created a subjective vision of our world, full of intimate moments that reveal the passage of time. Her spaces are filled with people, glimpses of Born in Hamburg in 1952, Angela Grauerholz studied graphic design and literature before moving to Montreal in 1976 where she completed her studies with a master’s degree in photography. Today she is professor of photography and book design at the École de design (Université du Québec) in Montreal. She has exhibited at the Kunstverein Hannover and the Westfälischer Kunstverein in Münster, the Albright Knox Art Galley in Buffalo and the Art Museum of the University of Houston, the Musée d’art contemporain de Montréal and the National Gallery of Canada in Ottawa. She has also participated in important international events such as the Sydney Biennale, documenta IX in Kassel and the Carnegie International in Pittsburgh. In 2006 Grauerholz received Québec’s Prix PaulÉmile Borduas for her accomplishments in the arts, and in 2014 she was awarded the Canada Council’s Governor General’s Award in Visual and Media Arts.

public and private interiors, and ethereal rural and urban landscapes. The out-of-focus quality of her photographs transforms them into a stream of consciousness, generating a sense of collective memory. She considers this approach “a representation of our experience: a continuous prodding into something that escapes us continuously.” Turning away from the single image shown on the wall, her photographs are displayed inside cabinets, in portfolios or on sliding panels. This method creates new viewing possibilities, opens up narrative potential, and pushes the concept of the archive to reveal its potentially endless thematic categories and points of entry. Grauerholz’s attention to how the medium is displayed and experienced makes the viewer an active participant in her photographic universe. The work of Angela Grauerholz is evocative and thoughtful. The strange beauty of her photographs invites the viewer to reflect on the depth of meaning that the ubiquitous presence of photographs may convey. — Robert Bean Co-published with Scotiabank

Angela Grauerholz Essay by Eduardo Ralickas Book design by Barr Gilmore, with Angela Grauerholz 240 pages 12 × 9.8 in. / 30.5 × 24.8 cm 200 photographs Duotone and four-color process Hardcover € 58.00 / £ 48.00 / US$ 65.00 ISBN 978-3-95829-122-5

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In this book Miles Aldridge delves into his Polaroid archive — venturing back through twenty years of enhancing, modifying, reassembling and discarding. Many of these Polaroids were intentionally annotated or Miles Aldridge was born in London in 1964, where he continues to live and work today. He studied at Central Saint Martins and after graduating worked briefly as an illustrator before finding his way to photography in 1993. His photographs have appeared regularly in international publications such as American Vogue, The New Yorker, The New York Times, and most notably Vogue Italia, with which he has collaborated closely throughout his career. Aldridge’s books include Pictures for Photographs (2009), Other Pictures (2012), and I Only Want You to Love Me (2013). In April 2014, he was invited by Tate Britain to create a temporary installation entitled Carousel II, as a response to Mark Gertler’s 1916 painting Merry-Go-Round.

accidentally damaged while working on different shoots. Liberated from their original context, the images take on a life of their own by evolving into surreal and cinematic narratives. By enlarging and manipulating the Polaroids in unpredictable ways, Aldridge devotes himself to each Polaroid as an independent image while simultaneously learning to appreciate the importance of flaws and imperfections. This book provides us with a rare insight into a photographer’s odyssey; an unfolding journey of the imagination in parallel to his working process. As I shoot on film I work with Polaroids to check the lighting and composition. While the Polaroid is developing, there is a wonderful two-minute pause, during which time I can withdraw myself from the shoot and reflect on what it is I am trying to achieve with the picture. It is a brief moment of clarity. Then the acidic sheets are ready to peel apart and I see for the first time the image, which I then draw on top of or dissect by cutting and pasting together with other Polaroids to indicate new changes before shooting the image on film. I send a final set of Polaroids to my lab with the shot film as guides to color with the instruction: PLEASE RETURN POLAROID! – Miles Aldridge Exhibitions: Sims Reed Gallery London, 19 to 22 May 2016 Reflex Gallery Amsterdam, 2 June to 21 July 2016 Steven Kasher Gallery NYC, 4 September to 20 October 2016

Miles Aldridge Please Return Polaroid Text by Miles Aldridge Book design by Miles Aldridge and Gerhard Steidl 190 pages 11.6 × 11.6 in. / 29.5 × 29.5 cm 117 color photographs Four-color process Hardcover € 38.00 / £ 30.00 / US$ 40.00 ISBN 978-3-95829-099-0

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The short-lived Japanese magazine Provoke is recognized as a major achievement in world photography of the postwar era, uniting the country’s most contentious examples of protest photography, Provoke, with its subtitle Provocative Materials for Thought, was an experimental Japanese photography magazine published in the years 1968 and 1969.

vanguard fine art, and critical theory of the late 1960s and early 70s in only three issues overall. Provoke is accordingly treated here as a model synthesis of the complexities and overlapping uses of photo­graphy in postwar Japan. The writing and images by Provoke’s members – critic Koji Taki, poet Takahiko Okada, photographers Takuma Nakahira, Yutaka Takanashi, Daido Moriyama – were suffused with the tactics developed in some Japanese protest books which made use of innovative graphic design and provocatively “poor” materials. Recording live actions, photography in these years was also an expressive form suited to emphasize and critique the mythologies of modern life with a wide spectrum of performing artists such as Nobuyoshi Araki, Koji Enokura and Jiro Takamatsu. This catalogue accompanies the first exhibition ever to be held about the magazine and its creators and focuses on its historical context. It covers the preliminary period leading to its first and the aftermath following its last issue. Provoke takes shape as a strongly interpretative explanation of currents in Japanese art and society at a moment of historical collapse and renewal. Exhibitions: Albertina, Vienna, 29 January to 18 May 2016 Fotomuseum Winterthur, 28 May to 28 August 2016 Le Bal, Paris, 14 September to 11 December 2016 The Art Institute of Chicago, 28 January to 7 May 2017

Provoke Between Protest and Performance Photography in Japan 1960/1975 Edited by Diane Dufour and Matthew Witkovsky, with Duncan Forbes and Walter Moser Texts by Yukio Lippit, Yuri Mitsuda, Duncan Forbes, Walter Moser, Matthew Witkovsky and interviews with Nobuyoshi Araki, Daido Moriyama, Eikoh Hosoe and Ryuichi Kaneko Book design by Pierre Hourquet 720 pages 7.5 × 9.8 in. / 19 × 25 cm 600 black-and-white photographs Four-color process Otabind brochure € 75.00 / £ 65.00 / US$ 85.00 ISBN 978-3-95829-100-3

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Top left to bottom right: Takuma Nakahira, Koji Enokura, Daido Moriyama, Koji Taki, Unknown photographer, Yukata Takanashi

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In Photographing Ina, Philip Trager, renowned for his black-andwhite images, embraces color for the first time. These striking and intimate photographs reveal Trager’s sophisticated, complex use of Philip Trager was born in Connecticut in 1935. His photographs are held in the permanent collections of the Museum of Modern Art, the Metropolitan Museum of Art, the Musée Carnavalet, the Bibliothèque Nationale and the Museum of the City of New York, among others. The Library of Congress in Washington D.C. has acquired the definitive collection of his photographs and will house his archives as part of its core collection. Steidl has published Trager’s New York in the 1970s (2015), Philip Trager (2006) and Faces (2005).

color, presenting an unanticipated and layered reality. The images are as much about the act of photographing, perception, color and light, as they are about his subject, whose presence is a constant and unifying motif. Trager photographed his wife Ina during only two distinct periods of time. This book comprises a selection of photographs from these very different bodies of work which comprise color photographs made between 2006 and 2011, after fifty years together, and blackand-white photographs made after twenty-five years together. These intimate, openly theatrical images — made in concentrated sessions rather than as an ongoing diary — embody an enduring love and shared passion for art. Unabashedly, a labor of love … — Philip Trager Exhibition: Davidson Art Center, Wesleyan University, 25 March to 22 May 2016

Philip Trager Photographing Ina Text by Andrew Szegedy-Maszak Book design by Duncan Whyte / Steidl Design 76 pages 7.9 × 9.9 in. / 20 × 25.1 cm 31 color photographs and 20 black-and-white photographs Tritone and four-color process Clothbound hardcover with a tipped-in photo € 38.00 / £ 34.00 / US$ 45.00 ISBN 978-3-86930-977-4

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This book intends to correct the somewhat blurred image of Ernst Haas’s color photography which, due to its extraordinary vibrancy, was much in demand by the illustrated press of its time. Haas’s color work, published in the most influential magazines and various books

Ernst Haas was born in Vienna in 1921 and took up photography after World War II. His early work on returning Austrian prisoners of war brought him to the attention of Life, from which he resolutely declined a job as staff photographer in order to maintain his independence. At the invitation of Robert Capa, Haas joined Magnum in 1949, developing close associations with Capa, Werner Bischof and Henri CartierBresson. He began experimenting with color, and in time became the premier color photographer of the 1950s. In 1962 New York’s Museum of Modern Art mounted its first solo exhibition of his color work. Haas’s books were legion, with The Creation (1971) selling 350,000 copies. Haas received the Hasselblad Award in 1986, the year of his death.

in Europe and America, earned him worldwide fame, but at the same time has often been derided by critics and curators as too easily accessible and not sufficiently “serious.” As a result, his reputation has suffered in comparison with a younger generation of color photographers, notably Eggleston, Shore and Meyerowitz. However, such criticism usually overlooks the astonishing sensibility of Haas’s personal work in color, which constantly but almost invisibly accompanied his commissioned photography and was far more radical and ambiguous. Haas never printed these pictures in his lifetime, let alone exhibit them. With their striking inventiveness and complexity, they firmly stand their ground in the face of the work of Haas’s fellow photographers. Due to its enormous popularity, Steidl is now offering Color Correction in a new, unaltered edition. He made us see his color. When some photographers take pictures, it doesn’t matter whether they are working in black-and-white or color. But when Ernst shoots color, it makes all the difference in the world. — Cornell Capa

William A. Ewing (ed.) Ernst Haas Color Correction 1952–1986 Texts by William A. Ewing and Phillip Prodger Book design by Thomas Lenthal 200 pages 9.8 × 9.8 in. / 25 × 25 cm 163 color photographs Four-color process Clothbound hardcover with foil stamping, wrapped in a sleeve € 48.00 / £ 45.00 / US$ 55.00 ISBN 978-3-95829-056-3

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Timm Rautert met Josef Sudek for the first time on a study trip to Prague in the spring of 1967. The photography student and the seventy-one-year-old Sudek — arguably the most important Czech Timm Rautert was born in Tuchola, West Prussia, in 1941 and studied under Otto Steinert at the Folkwang School of Design in Essen. From 1993 to 2007 he was a professor of photography at the Academy of Visual Arts in Leipzig. He has worked for magazines including Stern, Geo, Sunday Times Magazine, Time, Life and ZEITmagazin, as well as releasing several books. Steidl published his Deutsche in Uniform (2007) and No Photographing (2011). In 2008 Rautert was the first photographer to be awarded the Lovis Corinth Award. He lives in Berlin and Essen.

landscape and still-life photographer of the twentieth century and a cult figure in his native country — instantly took to each other, and Rautert began photographing the artist at his studio and home. He accompanied him on his strolls in parks in Little Prague on the left bank of the Vltava river as he searched for adequate perspectives, and documented his work process in and outside the darkroom. The Sudek series is an extraordinary chronicle of a fascinating personality and place in the run-up to the Prague Spring, and marks the beginning of Rautert’s career during which the portrait and people at work were always of major importance to him. In our case photography is still waiting for interest to build. I’m thinking of interest in photography as works of fine art that you might buy and hang in your home. We expect to get that far eventually — in some place it has already begun. — Josef Sudek

Timm Rautert Josef Sudek, Prague 1967 Essay by Timm Rautert Book design by Timm Rautert, Gerhard Steidl 96 pages 9.4 × 11 in. / 24 × 28 cm 42 black-and-white photographs Tritone Hardcover with dust jacket € 40.00 / £ 35.00 / US$ 50.00 ISBN 978-3-95829-118-8

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Colin Westerbeck’s criterion in choosing the 100 photographs published here was to seek out underappreciated work by great photographers and great work by underappreciated photographers. Colin Westerbeck writes frequently on photography for Art in America. From 1986 to 2003, he was a Curator of Photography at the Art Institute of Chicago. In 1994, he and photographer Joel Meyerowitz published Bystander, A History of Street Photography, which was released in paperback in 2001 and is to be republished in 2016. After moving to Los Angeles in 2003, Westerbeck wrote a weekly column on photography for the Los Angeles Times and taught the history of photography at UCLA and the University of Southern California. From 2008 to 2011, he was the Director of the California Museum of Photography at the University of California, Riverside. In 2014, Westerbeck published a monograph on Chuck Close’s photography and co-curated an associated exhibition at the Parrish Museum in 2015.

These 100 prints have all been drawn from the many thousands in the inventory of Howard Greenberg Gallery. Westerbeck was particularly drawn to Greenberg’s wide-ranging taste in both American and European photography of the twentieth century. The resulting book bears the name A Democracy of Imagery because Westerbeck believes all the works it contains should be considered equal. Each has been selected for its individuality — indeed, its idiosyncrasy — rather than its similarity to or compatibility with other images. In this spirit, works chosen for commentary are discussed individually. Westerbeck explores the background stories of particular photographs, as opposed to generalizing about the photos as a whole. I am a collector by nature. I have seen how the merit in a lot of good photography — sometimes even great photography — by both known and unknown photographers didn’t get written into the history books for one reason or another. Those works were always of as much interest to me as the more famous or sought-after ones. Colin’s selections from the gallery’s inventory reminds me of how that philosophy has informed everything I’ve done and of the potential of photography to surprise and challenge. — Howard Greenberg Co-published with the Howard Greenberg Library, New York Exhibition: Howard Greenberg Gallery, New York, March/April 2016

Colin Westerbeck A Democracy of Imagery Texts by Colin Westerbeck Book design by Gregory Wakabayashi 136 pages 11.7 × 12 in. / 29.7 × 30.5 cm 100 black-and-white and color photographs Tritone and four-color process Hardcover € 45.00 / £ 40.00 / US$ 50.00 ISBN 978-3-95829-116-4

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Sid Grossman and his photographs were largely forgotten after his untimely death in 1955 at the age of forty-two. One of the founders of the left-leaning Photo League (1936–51), Grossman was labeled Sid Grossman was born in New York in 1913. In 1938, Grossman and his friend Sol Libsohn co-founded the New York Photo League, a left-leaning, socially conscious photographers’ cooperative and school. Grossman’s early photography was very much in the social documentary tradition, while his work began to evolve into a more personal and dynamic style during World War II. These changes came to fruition in his best-known photographs made in the late 1940s — images of New York’s Little Italy and Coney Island. Photographing at a very close distance and using blur and off-kilter compositions, his images are a precursor to the work of many better-known street photographers of the 1950s and ’60s. Grossman died of a heart attack in 1955.

a Communist and blacklisted in 1949. A demanding and capricious teacher who challenged his students to think critically about all aspects of their photography, Grossman’s own approach to imagemaking and his remarkable body of work were constantly evolving. This monograph, the first comprehensive survey of Sid Grossman’s life and work, contains more than 150 photographs that demonstrate Grossman’s enduring talent and depth. The images range from his early social documentary work of the late 1930s to the more personal and dynamic street photography of the late 1940s, as well as late experiments with abstraction in both black and white and color. It features a biographical and critical essay by the renowned curator and photo historian, Keith F. Davis, which traces Grossman’s evolution as a photographer and examines his considerable influence as a teacher. The book concludes with an extensive selection of excerpts from a transcript of tape recordings of a course that Grossman taught in the spring of 1950 in which he expounds his views on photography, art, and creativity. Sid was one of the first to push everyone out of their comfort zone and experiment, and see the world from beyond their natural state. — Mason Klein Co-published with the Howard Greenberg Library, New York Exhibition: Rencontres d’Arles 2016

Keith F. Davis (ed.) The Life and Work of Sid Grossman Texts by Keith F. Davis Book design by Gregory Wakabayashi 256 pages 9.9 × 10.4 in. / 25.2 × 26.4 cm More than 150 black-and-white and color photographs Four-color process Clothbound hardcover with dust jacket € 48.00 / £ 45.00 / US$ 55.00 ISBN 978-3-95829-125-6

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It’s a vanished world, and Peter Hujar was right there in it. The Lower East Side between 1972 and 1985 — filled with artists, wannabe artists and hangers-on — was a community of the misbegotten gathered from Peter Hujar was born in Trenton, New Jersey, in 1934. Receiving his first camera at the age of thirteen, he attended the School of Industrial Arts where his interest in becoming a photographer first developed. As a member of the Downtown art scene, he photographed for Harper’s Bazaar and GQ, and portrayed his close friends. Hujar had major exhibitions at The Whitney Museum of American Art, The Art Institute of Chicago, The Metropolitan Museum of Art, The Museum of Modern Art, the Stedelijk Museum, Amsterdam, and Fotomuseum Winterthur, to name but a few. Life and Death (1976) remained the only publication of his work during his lifetime. Hujar died in 1987.

every town in America and relocated in the mean streets between Broadway and the Bowery. Nothing but their talent, their flamboyance, their rank gender-bending mockery and their arch irony supported them. Some made their names. Many came to grief. A few made art. In those days, the gutted streets of the Lower East Side looked like a war zone. Everyone lived and worked on the extreme outer margins of money and art, penniless and unknown. As a community, Downtown was a counterstatement to the rich New York of the banks, museums, media, corporations … and the art world itself. That Downtown is forever gone. Time, gentrification, disease and death have taken their toll and turned this vibrant epoch into a chapter of art history. But before it vanished, its extravagant cast sat for Peter Hujar’s camera — and is now alive again in front of our eyes. Featured among others: Joe Brainard, William Burroughs, Remy Charlip, Edwin Denby, Divine, Ray Johnson, Fran Lebowitz, Charles Ludlum, Susan Sontag, Paul Thek, John Waters, Robert Wilson, David Wojnarowicz. When a certain kind of original artist appears on the scene, it takes a generation to understand them. That was true of Peter. Suddenly there is a new generation that gets it. They get it in a funny way, because they’re having fantasies about how wonderful downtown was. — Stephen Koch

Peter Hujar Lost Downtown Texts by Vince Aletti Book design by Steidl Design 56 pages 10.4 × 11 in. / 26.5 × 28 cm 20 black-and-white portraits Tritone Clothbound hardcover € 28.00 / £ 25.00 / US$ 35.00 ISBN 978-3-95829-106-5

PETER HUJAR LOST DOWNTOWN

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In Seeing Things: New York, 1966–1967, I hope you’ll find a persuasive account of what it meant for me to be free with a Leica in the streets of my then newly-adopted home of Manhattan, a record drawn in the Tod Papageorge was born in Portsmouth in 1940, and began photographing during his last semester at the University of New Hampshire, where he graduated with a degree in English literature in 1962. During the 1970s, he received two Guggenheim Fellowships and National Endowment for the Arts Fellowship Grants and, in 1979, was named the Walker Evans Professor at the Yale School of Art, where, until 2013, he also held the position of Director of Graduate Studies of Photography. Papageorge’s work has been widely exhibited internationally and is represented in over thirty major public collections. In 2009, Papageorge was a Resident at the American Academy in Rome and, in 2010, awarded the Rome Commission in Photography. In 2012, he received the Lucie Award for documentary photography. Steidl published Papageorge’s Passing Through Eden: Photographs of Central Park in 2007.

saturated colors of Kodachrome film, where even the heavy shadows pouring into the backdrop-avenues of the pictures seem full of depth. I’d never worked in color before, but, just 25 and starting out, I was soon convinced by photographer-friends that I could pay the rent by landing a bit of magazine work, and that a carousel-tray of color slides would be the best way of convincing editors to take a chance on me. Perhaps unsurprisingly, I responded to my friends’ suggestion by photographing the street in much the way I’d been doing in black-and-white, but also — and new for me — I began intuitively making still-life pictures of shop windows and signs, where fruit or Brillo boxes were as likely to turn up as subjects as a political poster pasted over with images of a weeping Vietnamese girl. Clearly not a formula for commercial success. So, of course, I failed in reaching my immediate goal of making a living through photography, but the journey that the project forced on me — producing pictures in a fresh medium, and, just as crucially, at a time when thoughts of assassination, “The Summer of Love,” and the war in Vietnam were as present as the weather — has resulted so many years later in a new thing, this book. – Tod Papageorge

Tod Papageorge Seeing Things: New York, 1966–1967 Text by David Campany Book design by Tod Papageorge and Gerhard Steidl 136 pages 11.7 × 12 in. / 29.7 × 30.5 cm 60 color photographs Four-color process Hardcover € 45.00 / £ 40.00 / US$ 50.00 ISBN 978-3-95829-108-9

Tod Papageorge

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This, the third book in the celebrated series by Juergen Teller and Nicolas Ghesquière, artistic director of Louis Vuitton, proves that their audacious collaboration is as alive as ever. Perhaps more Juergen Teller, born in Erlangen, Germany, in 1964, studied at the Bayerische Staatslehranstalt für Photographie in Munich. His work has been published in influential magazines such as W Magazine, i-D and Purple, and has been the subject of solo exhibitions at institutions including The Photographers’ Gallery in London, the Kunsthalle Wien and the Fondation Cartier pour l’art contemporain in Paris. Teller won the prestigious Citibank Photography Prize in 2003, and has published numerous monographs with Steidl. Nicolas Ghesquière was born in Comines in the north of France in 1971. He began his fashion career at the age of fifteen, and in 1991 joined Jean Paul Gaultier as an assistant designer. In 1995 Ghesquière was appointed creative director of Balenciaga. In 2006 Ghesquière was voted by Time as one of the world’s 100 most influential people, and in 2007 he was made a Chevalier des Arts et des Lettres by the French government. Since 2014 Ghesquière has been artistic director of Louis Vuitton.

explicitly than its predecessors I Just Arrived in Paris (2014) and THE FLOW (2015), Season Three tells the story of a fashion collection as it evolves through photography (in this case Ghesquière’s creations for Louis Vuitton Fall-Winter 2015/16). Divided into named chapters, the book shows the changing guise of the collection as Teller photographs it for different purposes and in individual moods: be it presskit photos, streetscapes and still-lifes, candid bathroom scenes, backstage and runway shots, a fashion editorial for AnOther Magazine, or the advertising campaign. As ever with Teller, his photos reveal an irreverent, sometimes brazen take on the world of luxury, and rethink the line between fashion and life. I have tremendous respect for Nicolas, which is reciprocated, and that gives me the freedom to interpret his ideas. — Juergen Teller

Juergen Teller and Nicolas Ghesquière Season Three Book design by M/M (Paris) 224 pages 7.1 × 10.6 in. / 18 × 27 cm 118 color photographs Four-color process Softcover housed in a sleeve € 24.00 / £ 20.00 / US$ 30.00 ISBN 978-3-95829-087-7

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STEIDL–WERK No.23: MASAHO ANOTANI “DEFORMED” came about through sourcing for a way to design with the idea of not designing. This search led Theseus Chan to change his mindset completely. From the one-off incidence of meeting young artist Masaho Anotani in Tokyo, to the exactitude of Gerhard Steidl’s print facility in Göttingen. This attitude is seen throughout the final book, where the process itself is brought to center stage at the core of the work. The aim is to retain the beauty of the artworks as they are, evolving the product naturally from its original form to what it is now in your hands. The book mimics the box that contains the artworks of Masaho Anotani, which was shipped to Theseus Chan’s atelier. Using the digital files that were transmitted from Tokyo exactly as they were, the publication retains the folders and file sequencing as provided. This formed the pagination of the book and kept the final work as true to the designer’s original vision as possible. This book, as it was originally conceived, is now on a journey — in transit like a shipping parcel. While ‘un-boxing’ this book, do keep in mind that your actions — be it cutting, tearing it apart or any other interactions — are part of the concept. Leaving your lasting impression will make this magazine truly unique to you. This book is a collaboration between Masaho Anotani, Theseus Chan and Gerhard Steidl. With common interests in the analogue, arts and books, both designers share the same philosophy of subverting technology by creating works that have a strong imprint of humanity. The main objective was to create an object not yet seen or produced before.

The main idea behind STEIDL-WERK No.23: MASAHO ANOTANI “DEFORMED” is to create a paper object never seen before. A joint project, it stems from the exclusive collaboration between Theseus Born in 1961, Theseus Chan is a Singaporean graphic artist and printed matter designer with a keen interest in the visual arts, materials, printing and processing technology. His design studio, WORK, has been publishing WERK magazine since 2000. He was named Designer of the Year at the inaugural President’s Design Award Singapore in 2006. Other distinctions include several D&AD Yellow Pencils, New York Art Directors Club (ADC) and Tokyo Type Directors’ Club. In 2012, Chan became the first Singaporean designer to have a solo exhibition at ggg, Ginza Graphic Gallery, Tokyo, and in 2015, he became the official member of Alliance Graphique Internationale (AGI). His work is held in the permanent collection of Cooper Hewitt, Smithsonian Design Museum in New York, and M+, Museum of Visual Culture in Hong Kong.

Chan’s WERK magazine and Steidl Publishers for this particular issue of WERK. This magazine issue features a young Japanese artist, Masaho Anotani, whose complex collage-like drawings, sometimes surreal and sometimes disturbing compositions, are made almost entirely by hand. The title “DEFORMED” is part of the idea to create a misshapen book that evolves during the process of coming into existence. Building on the concept of clashing, creating and destructing the final product, something new — a chaotic bricolage of “printed junk” — is born. What truly sets Theseus apart is his design philosophy that mobilizes all of our five senses. Each tenaciously repetitive act of rubbing, pasting, tearing, printing creates unpredictable undulations and confusion in our bodies. — From Creation and Destruction by Keiichi Tanaami

Masaho Anotani was born in Hyogo, Japan, in 1991. He studied design at Seika University, Kyoto, and Fine Arts at Gerrit Rietveld Academie, Amsterdam, and currently lives and works in Tokyo.

STEIDL-WERK No.23: MASAHO ANOTANI “DEFORMED” Book design by Theseus Chan 360 pages 8.9 × 12 in. / 22.5 × 30.5 cm 261 illustrations Four-color process Hardcover with handmade wrapper, shipping tape and plastic courier bag € 48.00 / £ 40.00 / US$ 55.00 ISBN 978-3-95829-120-1

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Previously Announced

Richard Serra was born in San Francisco in 1938. Since the 1960s he has exhibited extensively throughout the world. In addition, Serra has created a number of site-specific sculptures in public and private venues in both North America and Europe. Serra’s books at Steidl include Sculpture 1985–1998 (1999), The Matter of Time (2005), The Tuhirangi Contour (2005) and Notebooks (2011). He lives in New York and Nova Scotia.

Throughout his career, the renowned American sculptor Richard Serra has kept a large number of notebooks which by now fill an entire library in his studio. Contained within them are delicate sketches of his travels, of landscapes, architecture and of other ideas, some of which the artist developed into mature sculptures and drawings. Serra has personally selected three of his notebooks, two of which he made in Iceland in 1989 and a recent one from Qatar, which are reproduced here in facsimile. Drawing is another kind of language. Often, if you want to understand something, you have either to take it apart or to apply another kind of language to it. Since I started working, I have always thought that if I could draw something I would have a structural comprehension of it. — Richard Serra

Richard Serra Notebooks Vol. 2 Book 1 Iceland, 1989 10.5 × 14 in. / 26 × 34.5 cm 40 pages Brown Florentine binding Book 2 Afangar, Videy Island, Iceland, 1989 6 × 4 in. / 14.7 × 9.3 cm 280 pages Black marbled binding Book 3 East-West / West-East, Qatar, 2014 4 × 5 in. / 9.5 × 12.5 cm 174 pages Leatherbound Cardboard box Housed together in a cardboard box Limited edition of 1000 with Arabic numbers and 50 épreuves d’artiste Signed and numbered by Richard Serra € 340.00 / £ 295.00 / US$ 375.00 ISBN 978-3-86930-975-0

Book 2: Afangar, Videy Island, Iceland, 1989

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Roni Horn was born in New York in 1955 where she continues to live and work. Her works can be found in the collections of many institutions, including the Museum of Modern Art in New York, the Solomon R. Guggenheim Collection, and the Kunstmuseum Basel. She has received numerous awards, most recently The Joan Miró Prize 2013. In 2009 Tate Modern, London, showed a retrospective, “Roni Horn aka Roni Horn,” which traveled to the Whitney Museum of American Art in 2010. Most recent largescale exhibitions include Kunsthalle Bregenz (2010), Kunsthalle Hamburg (2011), Fundació Joan Miró, Barcelona and La Caixa, Madrid (both in 2014). Horn’s publications with Steidl include Roni Horn aka Roni Horn (2009), Another Water (2011), and Haraldsdóttir (2011/13).

“Remembered Words” is a series of watercolor paintings Roni Horn created in 2013 and 2014. An important part of Horn’s work revolves around language. In this series she remembers words and pairs them with dots, adding the words to the dots like footnotes or captions, creating a kind of personal, even autobiographical dictionary. The combination of the dots — which are sometimes properly arranged in color-coordinated rows, on other drawings random and overlapping, wild and out of control — with the words creates unexpected relations and meanings, endless strings of associations, absurd and beautiful at the same time. Sometimes the circles proliferate and break up the grid, words disappearing under blobs that have machine-gunned the surface. Sometimes the words flee altogether. But they’re sneaky. They won’t leave us alone. As soon as things go quiet, they start up again. The words are like the weather passing through. — Adrian Searle

Roni Horn Remembered Words Book design by Roni Horn 296 pages 10.25 × 14 in. / 26 × 35.5 cm 296 color images Four-color process Clothbound hardcover € 98.00 / £ 85.00 / US$ 125.00 ISBN 978-3-86930-996-5

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Alexandra Grant is a Los Angeles-based artist who uses language, literature and exchanges with writers as the basis for her paintings, drawings and sculptures. Grant has exhibited at the Museum of Contemporary Art, Los Angeles, and the Los Angeles County Museum of Art, among other museums and galleries. She has collaborated with artists and writers including philosopher and playwright Hélène Cixous and hypertext pioneer Michael Joyce.

Following on their acclaimed first joint effort, the book entitled Ode

Keanu Reeves, born in Beirut in 1964, is a celebrated actor and writer. Reeves’s many films include “My Own Private Idaho” (1991), “Speed” (1994), “The Matrix” (1999), and “John Wick” (2014). His theatrical roles include an acclaimed portrayal of Shakespeare’s Hamlet at the Manitoba Theatre Centre (1995). Reeves is also an esteemed producer and director, whose recent projects include “Side by Side” (2012) and “Man of Tai Chi” (2013).

of the images, give voice to the multiple manifestations of the shadow:

to Happiness, Alexandra Grant has reunited with actor and writer Keanu Reeves to create a new body of work called Shadows. Shadows explores the real and symbolic nature of the shadow as image and figure of speech. Grant’s photographs capture Reeves’s shadow at times as a silhouette and at others as traces of light as he and the camera move together. In transforming the images into color and reversing light for dark, Grant has made the shadows themselves the source of light. Reeves’s texts, written in tandem with the creation as a projected figure, a place of concealed emotion, and an invocation to shadow play. No matter how you fight it you lose. — Keanu Reeves Exhibition: ACME Gallery, Los Angeles, 13 February to 12 April 2016

Alexandra Grant / Keanu Reeves Shadows Photographs by Alexandra Grant Texts by Keanu Reeves Book design by Alexandra Grant and Keanu Reeves 108 pages 10 × 12 in. / 25.4 × 30.5 cm 53 color photographs Four-color process Clothbound hardcover € 48.00 / £ 42.00 / US$ 60.00 ISBN 978-3-86930-827-2

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Carlos Saura, born in Huesca in 1932, is one of the most important European filmmakers. His more than forty films include “Los Golfos” (1959), “La Caza” (1965), “Peppermint Frappé” (1967), his Flamenco Trilogy comprising the films “Bodas de Sangre” (1981), “Carmen” (1983) and “El amor brujo” (1986), as well as the dance documentaries “Flamenco” (1995) and “Tango” (1998).

When the great filmmaker Carlos Saura was a young man, he desired to create a book about his native Spain that would transgress the propaganda imagery of the Franco regime. He strove to depict his country as seen through his camera when he set out on a journey through Andalusia and central Spain in his Fiat 600 in the late 1950s. The trip left a deep impression on his first documentary film, “Cuenca” (1958). Since his youth Saura has been fascinated not only by the process of photographing but also by its technology, as demonstrated by his museum-quality collection of hundreds of historical and self-made cameras. Torn between the two media at the beginning of his career, Saura eventually chose to become a filmmaker but has continued to take photographs. España años 50 offers a comprehensive insight into Saura’s photo­graphy with a focus on his black-and-white work of the 1950s: compelling images of landscapes, villages, bullfights and people of another era. Photographs of Saura’s diploma film project, “La Tarde de Domingo” (1957), are also present in the book, making it the definitive representation of his photographic oeuvre. I’m a casual photographer who strolls through life with his camera, capturing things which interest me as if with a notebook. — Carlos Saura

Carlos Saura Vanished Spain Texts by Carlos Saura Book design by Gerhard Steidl 378 pages 9.8 × 11.4 in. / 25 × 29 cm 350 black-and-white photographs Tritone Clothbound hardcover with dust jacket € 65.00 / £ 58.00 / US$ 80.00 ISBN 978-3-86930-911-8

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Frank Gohlke was born in Wichita Falls, Texas, in 1942. In 1967 he abandoned the study of literature to become a photographer, encouraged in his decision by Walker Evans, who saw his first photographs, and Paul Caponigro, with whom he studied informally at his home in Connecticut. Gohlke has received two fellowships from the Guggenheim Foundation, two from the National Endowment for the Arts, and a Fulbright Research Grant to Kazakhstan in 2013–14. His work has been exhibited and collected internationally, including three solo shows at the Museum of Modern Art. Gohlke’s books include Measure of Emptiness (1992), Mount St. Helens (2005), Accommodating Nature (2007) and Thoughts on Landscape (2009).

In 2003, Frank Gohlke and Joel Sternfeld were commissioned to

Joel Sternfeld was born in New York City in 1944. He has received numerous awards including two Guggenheim Fellowships, a Prix de Rome and the Citibank Photography Award. Sternfeld’s books published by Steidl include American Prospects (2003), Sweet Earth (2006), Oxbow Archive (2008) and First Pictures (2011). A Book of Resemblances is forthcoming.

voracious commercial culture. Sternfeld focuses on the indigenous

photograph one of the densest concentrations of ethnic diversity in the world, the borough of Queens in New York City. After more than a year of photographing everything from corner bodegas to the borough’s boundaries, Gohlke and Sternfeld had not only captured the complicated dynamic that sustains Queens and its myriad communities; they had also evolved a unique theory of landscape photography in which landscape is a visible manifestation of the invisible emotions of its inhabitants. The collection inherits the strength of each photographer’s eye. Gohlke’s Queens consists of streets, houses, fences, gardens, parklands, shorelines, and waste spaces, the territory where human arrangement contends endlessly with the forces that undo it: unruly vegetation, weather, rot, decay, and the “creative destruction” of a shops, restaurants, mosques and temples that make a walk in Queens feel like a walk in Thailand, India or Peru. In conjunction with an essay by the acclaimed writer Suketu Mehta, this book is a powerful instrument for understanding a landscape that seems to defy interpretation. These pictures emphasize the text of Queens, the vulgar colors of its signs, the leveling that these signs effect on local culture. — Farrah Karapetian

Frank Gohlke / Joel Sternfeld / Suketu Mehta Landscape as Longing With an essay by Suketu Mehta Book design by Frank Gohlke, Joel Sternfeld and Gerhard Steidl 196 pages 12.6 × 11 in. / 29.5 × 25 cm 36 color photographs by Joel Sternfeld 38 black-and-white photographs by Frank Gohlke Tritone and four-color process Clothbound hardcover € 65.00 / £ 58.00 / US$ 75.00 ISBN 978-3-95829-032-7

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Top: Frank Gohlke

Bottom: Joel Sternfeld

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Lewis Baltz was born in Newport Beach, California, in 1945, where he grew up. He graduated from the San Francisco Art Institute in 1969 and received a Master’s degree from Claremont Graduate School in 1971. Apart from the definitive exhibition New Topographics: Photographs of a ManAltered Landscape, Baltz’s work has been shown in about fifty solo exhibitions and featured in seventeen monographs. It now forms part of the permanent collections of the Guggenheim Museum, Tate Modern, the Los Angeles County Museum of Art and the San Francisco Museum of Modern Art, to name but a few. In 2013, Baltz donated his archive to the Getty Research Institute. He lived, taught and photographed in Europe from the mid-1980s, splitting his time between Paris and Venice. Baltz died in Paris on November 22, 2014, aged 69.

In the late 1960s and early ’70s Lewis Baltz became fascinated by the stark, repellent, manmade landscape that was rolling over California’s then still agrarian terrain. Baltz made a number of projects on this subject, the best known of which, The New Industrial Parks Near Irvine, California, was first published in 1974. With this book Baltz took his place near the center of the New Topographic movement, a newly coined term emblematic of a cool, distanced, yet critical view of the emerging man-altered landscape. The Topographic position, detached and glacial, has since influenced photographic practice in the United States, Germany and Japan. A lot of people liked albums, family snapshots, but I never did. I liked the photographs in Real Estate office windows, which are technically correct and heartbreakingly empty. — Lewis Baltz

Lewis Baltz The New Industrial Parks Near Irvine, California Book design by Lewis Baltz, Gerhard Steidl and Bernard Fischer 96 pages 11 × 10.6 in. / 27.9 × 26.8 cm 51 black-and-white photographs Quadratone Clothbound hardcover with dust jacket € 58.00 / £ 48.00 / US$ 65.00 ISBN 978-3-86930-990-3

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Jerry Berndt, born in 1943 in Milwaukee, Wisconsin, worked as a photo­ grapher for over forty years, employed by newspapers and magazines including the Boston Globe, the New York Times, Newsweek and Paris Match. His work as a photojournalist took him to numerous conflict areas such as San S ­alvador (1984), Haiti (1986–91), Armenia (1993–94) and R ­ ­wanda (2003–04). Berndt taught at Boston University’s College of Fine Art and at the University of Massachusetts, and his work is held by prominent institutions including the Museum of Modern Art in New York, the Museum of Fine Arts in Boston, and the Bibliothèque Nationale de France in Paris. In 2008, Berndt was honored by a retrospective in Braunschweig and Berlin, for which Steidl published Insight. Berndt died in Paris in 2013.

Jerry Berndt documented the period between 1968 and 1980 in America like no other photographer. Personally involved in the antiVietnam War activities of the 1960s, Berndt’s work combines photo­ journalism with documentary, conceptual and street photo­graphy to create a unique view of America’s social constitution during these decisive years. Berndt consistently placed himself near political conflict, systematically portraying the spectrum of America’s people and cityscapes, including the middle and working classes, as well as the inhabitants of America’s often ignored ghettos. His work from this period shows how Americans expressed themselves culturally and socially, while exposing the foundation of America’s changeable urban infrastructure. This book visualizes an important, uneasy period of transition in America’s recent history, and highlights the literal and ironic aspects of its “beauty.” If I go out with a camera and I am angry, I will look for angry things and I will find them, and the photographs when you look at them will say this. That’s what I always thought was the job of making pictures – that when you look at the image you should feel what I want you to feel. — Jerry Berndt

Jerry Berndt Beautiful America Protest, Politics, and Everyday Culture in the USA, 1968–1980 Edited by Maik Schlüter Book design by Maik Schlüter and Gerhard Steidl 128 pages 11 × 9.5 in. / 28 × 24 cm 70 black-and-white photographs Tritone Hardcover € 38.00 / £ 30.00 / US$ 45.00 ISBN 978-3-86930-898-2

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Guy Bourdin was born in Paris in 1928. His career as a fashion photographer spans over three decades, shooting largely for French Vogue as well as Harper’s Bazaar, Chanel, Issey Miyake, Versace, Charles Jourdan and Emanuel Ungaro. Today, Bourdin’s work is held in the most prestigious museums including the Victoria and Albert Museum, Jeu de Paume, the Guggenheim and the National Museum of China. Bourdin died in 1991.

With the eye of a painter, Guy Bourdin created images that contained fascinating stories, compositions and colors. He radically broke conventions of commercial photography with a relentless perfectionism and sharp humor. Famed for his suggestive narratives and surreal aesthetics, Bourdin used fashion photography to explore the realm between the absurd and the sublime. Now in its third edition, A Message for You is a road trip through Bourdin’s visual landscape, a collage of images that maps his artistic search and vision. The texts, Polaroids, poems, sketches and contact sheets unfold in real time through the memories of model Nicolle Meyer, a muse to Bourdin. Given total creative freedom and with an uncompromising artistic ethic, Bourdin captured the imagination of a whole generation. The late 1970s, recognized as the pinnacle of his career, are the focus of this monograph, which is the last of eight books exploring his most outstanding and undiscovered work so far. This is a book for fashion aficionados, collectors interested in the female form and lovers of miniature worlds like ours, but in a state of otherness. It is a world of radical order. Bourdin takes the egotistical mind’s crisp and light-filled stage, its fantasies of perfection and moldable desires, and creates a diorama of them through his photography. The result is garish, lush, and captivating. — Christopher J. Johnson

Guy Bourdin A Message For You Vol. 8 of an eight-volume series Book design by Pascal Dangin 320 pages 9.6 × 11.8 in. / 24.5 × 30 cm 200 color photographs Four-color process Hardcover with dust jacket € 65.00 / £ 55.00 / US$ 75.00 ISBN 978-3-86930-551-6

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Lucinda Devlin, born in Ann Arbor, Michigan, in 1947, grew up surrounded by the Great Lakes and rural landscapes. Devlin has received numerous awards (including those from the NEA and DAAD) and her work is held in several museums, such as the Guggenheim Museum, the Whitney Museum, and the DZ Bank Collection. Devlin has exhibited throughout the United States and Europe including the Venice Biennale. Steidl has published her The Omega Suites (2000) and Water Rites (2003).

Lake Pictures is a series of photographs of Lake Huron, one of the Great Lakes bordering the state of Michigan. The pictures — taken at the same place, during the four seasons, and at different times of day and night — explore the changing atmospheric nature of the lake through the prisms of water, sky, color, light, place, space and time. Looking at this immense body of water and the sky above, both initially seem boundless, as if stretching forever into the distance. Only the fine horizon line between the two separates and joins them, pulling us into each photo and reminding us that this sense of infinity is but an intriguing optical fiction. More than a lake: the lake, the sea. Devlin’s pictures show everything, from a honey-yellow pool to a raging sea; we see the grayish-brown abyss, the opaque, rippling navy blue, a melancholy carpet … and the slate-like idleness. All this is a result of her morning, midday, evening and nighttime visits to the shoreline. It looks as though the photo­ grapher has consulted the Great Lake like an oracle. — Ulf Erdmann Ziegler Co-published with Galerie m Bochum

Lucinda Devlin Lake Pictures Text by Jerry Dennis and Tom Sherman Book design by Gerhard Steidl 120 pages 11.2 × 10 in. / 28.5 × 25.5 cm 50 color photographs Four-color process Hardcover € 38.00 / £ 32.00 / US$ 40.00 ISBN 978-3-86930-965-1

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Born in 1971, Tomasz Gudzowaty is a Polish documentary and portrait photographer who has won many major international photography competitions, including World Press Photo and Pictures of the Year International. He has spent the last two decades pursuing diverse subjects from wildlife to social issues and sport, creating a body of work with a consistent visual message and intellectual vision. His photography has been exhibited globally and published in magazines and newspapers such as Max, L’Equipe, Newsweek, Forbes, Time, Photo, GQ, The Guardian, National Geographic, British Journal of Photography, and Vogue Italia. Gudzowaty is also the author of several books. In 2009 he was invited by Nan Goldin to participate in the exhibition “Ça me touche” which she curated for the 40th Recontres d’Arles festival. This marked the beginning of their collaboration on Beyond the Body.

Beyond the Body is the result of an unlikely meeting between Tomasz Gudzowaty and Nan Goldin, who represent diametrically different personalities, sensibilities, and modes of artistic creation, yet both of whom stand behind stunningly clear, consistent visions. Goldin draws on Gudzowaty’s rich archive to create her own narrative — detached from its original thematic context and purpose to form a continuous flow of images that reaches a deeper, metaphysical dimension of sport. The people in the photographs — flying, floating, upside down — strive to escape, to liberate themselves from corporeal limitations, and to transcend their physical boundaries in order to attain a mystical state of mind. As Goldin lucidly puts it: “They are breaking the rules of how we are bound to the earth.” I have always been resistant to traditional documentary photo­ graphy, and I never would have dreamed I would edit the work of a person who is defined as a sports photographer, but Tomasz’s pictures have been a revelation to me. His images have shown me a new way of seeing work I thought to be confined to its usual limitations and I am proud to say that this gem of a book is the product of our unexpected connection and relationship. — Nan Goldin

Tomasz Gudzowaty Beyond the Body Tomasz Gudzowaty in the eyes of Nan Goldin Edited by Nan Goldin With an introduction by Nan Goldin Text by Tomasz Gudzowaty Book design by Marek Mielnicki 196 pages 9.1 × 10 in. / 23 × 25.5 cm 145 black-and-white photographs Tritone Clothbound hardcover with dust jacket € 38.00 / £ 32.00 / US$ 45.00 ISBN 978-3-95829-040-2

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Born in 1971, Tomasz Gudzowaty is a Polish documentary and portrait photographer who has won many major international photography competitions, including World Press Photo and Pictures of the Year International. He has spent the last two decades pursuing diverse subjects from wildlife to social issues and sport, creating a body of work with a consistent visual message and intellectual vision. His photography has been exhibited globally and published in magazines and newspapers such as Max, L’Equipe, Newsweek, Forbes, Time, Photo, GQ, The Guardian, National Geographic, British Journal of Photography, and Vogue Italia. Gudzowaty is also the author of several books.

Tomasz Gudzowaty became established as a wildlife documentary photographer in 1999, when he won the first of his World Press Photo awards in the nature category with a remarkable image of two cheetah cubs just about to take down their first prey. He has since traveled extensively throughout sub-Saharan Africa, amassing thousands of images of elephants, lions, cheetahs, wildebeest, zebras and other species. In 2008 Gudzowaty documented a remote emperor penguin colony in the Weddell Sea, a project he continued through his work on South Georgia and the South Sandwich Islands. Gudzowaty’s wildlife photography is characterized by a technical and aesthetic sophistication that is particularly visible in his depictions of large-scale natural spectacles, such as the annual wildebeest migration in Tanzania or the breeding season on the penguin rookeries. This book captures Gudzowaty’s passion and deep knowledge of his subject: keenly observing both general patterns and minute details, he brings the viewer closer to nature’s inner workings and beauty. This book is an experience, discovering the habits, behaviors, weaknesses and strengths of animals living so removed from us. A world still real, still pure. This book has the capacity to remind you that the beauty of the world is a gift that has to be protected. By protecting nature we can protect our planet. Every single image makes you dream of a better world. — Franca Sozzani

Tomasz Gudzowaty Closer Introduction by Franca Sozzani Essay by Witold Szabłowski Book design by Marek Mielnicki 508 pages 11.4 × 14.6 in. / 29 × 37 cm 250 black-and-white photographs Tritone Softcover € 88.00 / £ 78.00 / US$ 95.00 ISBN 978-3-95829-044-0

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Born in 1971, Tomasz Gudzowaty is a Polish documentary and portrait photographer who has won many major international photography competitions, including World Press Photo and Pictures of the Year International. He has spent the last two decades pursuing diverse subjects from wildlife to social issues and sport, creating a body of work with a consistent visual message and intellectual vision. His photography has been exhibited globally and published in magazines and newspapers such as Max, L’Equipe, Newsweek, Forbes, Time, Photo, GQ, The Guardian, National Geographic, British Journal of Photography, and Vogue Italia. Gudzowaty is also the author of several books.

This is the first monograph by Tomasz Gudzowaty, presenting a selection of his iconic pictures which have won him numerous awards and international recognition, alongside previously unpublished material. True Love Never Dies contains two ­decades of work by Gudzowaty, who dexterously explores a wide range of genres and formats — from social documentary to portraiture, from wildlife to sport, from austere black-and-white pictures in the tradition of photo­journalism to sophisticated color compositions. In editing the book, Gudzowaty eschews chronological or thematic order for a sequence shaped by moods and relationships, all unified by his consistent and engaging investigation of the world and human condition. To be a documentary photographer of my sort is to visualize the complexity of human experience in all its changing and consistent aspects. — Tomasz Gudzowaty Exhibition: Museo Ettore Fico, Turin, July to October 2016

Tomasz Gudzowaty True Love Never Dies Foreword by Karl Lagerfeld Text by Tomasz Gudzowaty Book design by Marek Mielnicki 336 pages 12.2 × 15 in. / 31 × 38 cm 246 black-and-white photographs Tritone Clothbound hardcover with dust jacket € 88.00 / £ 78.00 / US$ 95.00 ISBN 978-3-95829-041-9

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Gleb Kosorukov was born in a closed city, a secret scientific center for strategic nuclear research in the Urals, Russia. After completing a degree in nuclear physics at the National Research Nuclear Physics University in Moscow, Kosorukov worked as a photographic journalist, covering Russia’s transition period for The New York Times and The Guardian. In 2000 he moved to Paris where he created fashion editorials. Currently Kosorukov is focused on his multimedia art and documentary projects.

On 31 August 1935 Alexej Stakhanov, a jackhammer operator at Central-Irmino coal mine, mined a record 102 tons of coal in five hours and forty-five minutes (fourteen times his daily quota). The launch of an unprecedented state-run campaign for popularizing extraordinary labor achievements made Stakhanov a Soviet preeminent hero. Soon after, his portrait appeared on the cover of Time. For the first time a laborer had been elevated to worldwide fame for his performance at work. Since then the term “Stakhanovism” has defined ecstatic labor and professional over-accomplishment as a form of heroism. On the 74th anniversary of Stakhanov’s achievement, Gleb Kosorukov undertook a photographic research project on the identity of modern miners as an archetype of the working class, affected by the changing value of material labor and the decline of social justice. Kosorukov took 100 portraits of miners during shift changes at the largest mine in Europe, located in the eastern Ukraine, which bears the name of Stakhanov. Due to the neoliberal pressure of global capitalism and the radical changes in the nature of the labor market, Ukrainian mines are closing apace; more than 100,000 miners stand to lose their jobs within the next five years. Kosorukov’s work examines what remains of the miner-myth in the image of the worker-heroes of today.

Gleb Kosorukov Heroes of Labour or 100 from the Stakhanov mine Text by Gleb Kosorukov Book design by Gleb Kosorukov and Gerhard Steidl 192 pages 9.5 × 13 in. / 24 × 33 cm 100 color photographs Four-color process Clothbound hardcover with dust jacket € 68.00 / £ 58.00 / US$ 85.00 ISBN 978-3-86930-689-6

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Born in Switzerland in 1961 Henry Leutwyler lived and worked in Paris for a decade before moving to New York City in 1995, where he established his reputation as a portrait photographer. Steidl published Leutwyler’s first book, Neverland Lost: A Portrait of Michael Jackson in 2010, followed by Ballet, A Portrait of The New York City Ballet in 2012. Document is Leutwyler’s third book. The images from Neverland Lost and Ballet have been shown in solo exhibitions in Los Angeles, New York City, Moscow, Madrid, Paris and Zurich.

Henry Leutwyler’s new book Document reveals the unseen, the humble, and the intimate within iconic moments: the first moonwalk, political assassinations, the lives of musicians, artists and athletes. The product of twelve years of discovery and dreaming, Document is a collection of portraits of things: Mahatma Ghandi’s sandal, Alan Shepard’s golf club, Janis Joplin’s acoustic guitar, Jack Ruby’s handgun. Leutwyler shows us these objects close up — straight on and without backdrop — a style that is equal parts still life, portraiture, and crime scene photography. Isolated from their contexts and owners, the objects have our full attention, and although we have never seen them, they feel utterly familiar. These are authentic objects, imperfect and unrestored, and in their scuffs, scratches, dirt and wear they powerfully evoke presence. They are the testaments of bodily histories, the traces of personalities, and the stuff of our collective memory. For me this is an opportunity to say something about the people, instead of making a portrait. Objects do tell us something about their owners. — Henry Leutwyler

Henry Leutwyler Document Introduction by Karen Eileen Overbey Essay by Graham Howe Book design by Ruba Abu-Nimah and Eleonor Roger (Water NYC) 224 pages 10 × 13 in. / 25.4 × 33 cm 120 color photographs Four-color process Clothbound hardcover € 65.00 / £ 58.00 / US$ 75.00 ISBN 978-3-86930-969-9

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The hand of the original King Kong movie

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Kai Löffelbein was born in Germany in 1981 and studied documentary photography in Hanover. He has since worked in South America, Asia, Africa and Eastern Europe, devoting himself to long-term projects that capture the impacts on common people and the environment left by socio-political and economic phenomena. Löffelbein has exhibited internationally and his awards include the Henri Nannen Prize, the UNICEF Photo of the Year Award, The New York Photo Award, the DAYS JAPAN International Photojournalism Award, the FotoVisura Photography Grant and the Px3 Prix de la Photographie. He is one of the Critical Mass Top 50 Selected Artists and recently received a grant from the Magnum Foundation.

Ctrl-X. A topography of e-waste explores the irresponsible handling of limited resources, one of the most pressing problems of our globalized world today. In this book Kai Löffelbein follows the electronic-waste trails from Europe and the United States to the post-apocalyptic scenery of Agbogbloshie in Ghana, the e-waste city of Guiyu in China and the backyard workshops of New Delhi. Here he meticulously documents the appalling conditions under which workers, sometimes even children, attempt to recover any valuable raw materials contained in our e-waste, refuse that is illegally exported from the West in order to bypass expensive recycling. In an increasingly digitized world, a life without electronic devices seems inconceivable for us: computers, cell phones, MP3 players and tablets have become our daily companions. And as long as we continue to define ourselves by the products we consume — the latest smartphone, the fastest processor and the thinnest laptop — the millions of tons of e-waste produced annually will continue to increase. Kai Löffelbein has a keen eye for the spectacular, but also for significant details… His pictures are superbly composed, of the highest quality, beautiful in the classical sense and very impressive, but they are also analytical and political, and never succumb to the danger of over-aestheticization. They open our eyes and inspire us. — James Nachtwey

Kai Löffelbein Ctrl-X. A topography of e-waste Texts by Ed Kashi Book design by Gerhard Steidl and Kai Löffelbein 164 pages 9.8 × 14.5 in. / 25 × 37 cm 76 color photographs Four-color process Hardcover with a tipped-in circuit board € 48.00 / £ 42.00 / US$ 60.00 ISBN 978-3-86930-970-5

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Paulo Nozolino was born in 1955 in Lisbon, and lived in London and Paris before settling again in Portugal. In the span of his forty-year career, Nozolino has traveled widely in Europe, America, the Middle East and North Africa. His work has been largely shown and honored with several awards, and is held in numerous private and public collections. Nozolino’s books include Penumbra (Scalo, 1996), Far Cry (Steidl, 2005), bone lonely (Steidl, 2011) and Makulatur (Steidl, 2011).

Taken between 2008 and 2013 in New York, Lisbon, Paris and Berlin as well as in the French and Portuguese countryside, these photographs by Paulo Nozolino bear his usual dark symbolic syntax. Still using 35mm film and occasionally a flash, this tight sequence of vertical pictures shows us, once again, his everlasting concern for the state of the world and his quest for the pure, true, non-manipulated analogic image. This is a bright obscure piece. The transparency of the black shows a world that is continually destroying itself. Closer to the certitude of an end. The decadence of the place. Life by a thread, leaving traces of light. This is where we came to. This is where we are. All we have left is putrefaction, garbage, claustral confinement, a quiet decay that embraces slow death. So slow that we still may believe it might never come. We see her, we feel her, we touch her with our own hands. Yet. We are responsible for the disease but we don’t know how to escape from it. We were hungry and we ate. We are dreaming about the crumbs that we left behind. Unwise. Eyes on the floor, there is no redeeming act. Prisoners of a dirty and corrupted matter. Emptiness. Full of guilt inhabited by a depressing seediness, by careless negligence, by lazy weakness, by the violence of the spirit. Home is a forgotten word. And so are many others. — Alexandra Carita

Paulo Nozolino Loaded Shine Book design by Paulo Nozolino and Gerhard Steidl 48 pages 8.04 × 11.7 in. / 21 × 29.7 cm 20 black-and-white photographs Tritone Clothbound hardcover € 30.00 / £ 25.00 / US$ 35.00 ISBN 978-3-86930-972-9

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Arnold Odermatt was born in the Swiss Canton of Nidwalden in 1925. He joined the police force in 1948 and retired in 1990 with the rank of first lieutenant, chief of traffic police and vice commandant of the Nidwalden Police Department. His photographs have been exhibited at the 49th Venice Biennale in 2001, at the Art Institute of Chicago and at Fotomuseum Winterthur. Urs Odermatt, born in Stans in 1955, studied film direction and scriptwriting with Krzysztof Kieślowski, and today works as a film and theater director. Since 1993, he has been editing and publishing his father’s photography.

Following Arnold Odermatt’s Karambolage, On Duty and Off Duty, all published by Steidl, Let’s call it a day presents more rediscovered masterpieces by this remarkable self-taught photographer, who trained himself primarily through his duties as a policeman in the small, secluded Swiss canton of Nidwalden. Odermatt thus developed an unconventional artistic fingerprint, which served him well during his working days as well as after hours. Whenever off duty, Odermatt often volunteered to take pictures throughout Nidwalden. He photographed his motifs usually only once, developed prints on demand and then archived them in his attic — all was preserved but ignored. Luckily, the photographer’s son has rescued these treasures and ensured their publication. Let’s call it a day is the fourth volume in a series of books that brings into focus this extraordinary work. I don’t collect anything. I preserve it. You don’t throw away anything that might still be of use to you. Later of course you don’t need anything and forget about it. Nobody remembers it, so it is lost. I was lucky. — Arnold Odermatt

Arnold Odermatt Let’s call it a day Edited by Urs Odermatt Book design by Urs Odermatt and Gerhard Steidl 408 pages 11 × 12.6 in. / 28 × 32 cm c. 400 color and black-and-white photographs Four-color process Clothbound hardcover with dust jacket € 65.00 / £ 58.00 / US$ 75.00 ISBN 978-3-86930-973-6

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Mark Neville, born in London in 1966, studied at Goldsmiths, London, and the Rijksakademie, Amsterdam. In 2013 his project “Deeds Not Words” was shown at The Photographers’ Gallery London, and his work in Helmand as an official war artist was shown at the Imperial War Museum London in 2014. Neville’s photographs are held in many public and private collections, including the Arts Council of E ­ngland, Kunstmuseum Bern, the National Galleries of Scotland, the Imperial War Museum, the Flemish Community, and Scottish Parliament. He has exhibited at Modern Art Oxford; Haus der Kunst, Munich; Jeu de Paume, Paris; and Tate Britain.

Fancy Pictures brings together seven of Mark Neville’s socially engaged and intensely immersive projects from the last decade. Neville often pictures working communities in a collabor­ative process intended to be of direct, practical benefit to his subjects. The Port Glasgow Book Project (2004) is a book of his social documentary images of the Scottish town. Never commercially available, copies were given directly to all 8,000 residents. Deeds Not Words (2011) focuses on Corby, an English town that suffered serious industrial pollution. Neville produced a book to be given free to the environmental health services department of each of the 433 local councils in the UK. Battle Against Stigma and Helmand are both projects resulting from Neville’s time in Afghanistan. Two projects for the USA are also included. Invited by the Andy Warhol Museum in 2012, Neville examined social divisions in Pittsburgh, and the photo-essay Here is London, commissioned by The New York Times Magazine, echoes the style of the celebrated photographers who documented the boom and bust of the 1970s and ’80s. Mark Neville has re-imagined what documentary photo­graphy could be, should be. Instead of the bland “deconstructions” that pass so lazily as “critical” in contemporary art, he makes extraordinary pictures and finds extraordinary ways to get them back to those he has photographed. — David Campany

Mark Neville Fancy Pictures Interview between Mark Neville and David Campany Book design by Mark Neville 192 pages 14.3 × 11.7 in. / 36.3 × 29.8 cm 95 color and black-and-white photographs Tritone or four-color process Hardcover € 78.00 / £ 62.00 / US$ 90.00 ISBN 978-3-86930-908-8

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William Heick (1916–2012) was a photo­ grapher and documentary filmmaker. His works are held in the permanent collections of the M ­useums of Modern Art in New York and San Francisco, the Smithsonian Institute, the High Museum, Atlanta, the Seattle Museum of Art, the ­ Josef Sudek G ­allery, Prague, and the de Young Museum, San Francisco.

After World War II the California School of Fine Arts (CSFA) in San

Ira H. L ­atour (1919-2015) was a photographer and filmmaker. His work is in major collections including the Museum of Modern Art in New York, the Victoria and A ­lbert Museum, the Centre Pompidou, the N ­ational Museums of Berlin, the Josef Sudek Gallery, Prague, and the National Museums of Tokyo and Beijing.

Dorothea Lange, Imogen Cunningham, Lisette Model, Nancy and

C. Cameron Macauley (1923–2007) was a photographer, filmmaker and t ­eacher with a particular interest in historical images and footage. He was an expert witness in the case of the f ­amous Zapruder eyewitness film of the assassination of President John F. K ­ennedy. Ken Ball and Victoria Whyte Ball work together as consultants, designers, illustrators, and photo­ graphers in the San Francisco Bay Area.

Francisco hired renowned photographer Ansel Adams to establish one of the first fine art photography departments in the United States. The caliber of teachers and guest instructors assembled there under the new directorship of Douglas McAgy was unmatched, and the school was one of the most avant-garde art schools of its time. On hand were photo­graphers Adams and Minor White, along with Edward Weston, Beaumont Newhall, and Homer Page. Three former students of Adams and White — William Heick, Ira H. Latour and C. Cameron Macauley, later known as the “Three Musketeers” — began planning a book that would ­focus on CSFA’s photography department, covering the years between 1945 and 1955, the period known as “The ­Golden Decade.” It was a lucky coincidence when Ken Ball and his wife Victoria Whyte Ball (whose father, Don Whyte, had bequeathed them an abundance of negatives and contact prints from his student years at CSFA) joined them. Together this team has embarked on an important journey into photo­graphy’s past that is embodied in this book. It was probably the first concentrated practice of photography as an art form rather than as a commercial enterprise. There was a depth to it, a portrayal of human experience. — Stan Zrnich

Ken Ball and Victoria Whyte Ball (eds.) The Golden Decade: Photography at the California School of Fine Arts 1945–55 Edited and compiled by Ken Ball and Victoria Whyte Ball Texts by William Heick, Ira H. Latour, C. Cameron Macauley, Ken Ball and Victoria Whyte Ball Book design by Steidl Design 368 pages 11.5 × 11.5 in. / 29.2 × 29.2 cm 375 black-and-white photographs Tritone Clothbound hardcover with dust jacket € 68.00 / £ 58.00 / US$ 75.00 ISBN 978-3-86930-902-6

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Koto Bolofo was born in South Africa in 1959 and raised in Great Britain. Bolofo has photographed for magazines such as Vogue, Vanity Fair and GQ and made short films for the Berlinale and Venice Film Festival. He has created advertising campaigns for companies including Hermès, Christian Dior, Louis Vuitton and Dom Pérignon. Bolofo’s books with Steidl include Venus (2008), Horse Power (2010), I Spy with my Little Eye, Something beginning with S (2010), Grande Complication (2010), Vroom! Vroom! (2010), La Maison (2011), Lord Snowdon (2012) and The Prison (2014).

This whimsical and in-depth behind-the-scenes study leads the reader into the world of Steidl Publishers in Göttingen. With his inimitable and patient eye, Koto Bolofo takes us through the labyrinthine corridors and stairways of the publishing house, documenting the myriad processes and people at work, and giving us an insider’s glance into how Steidl’s books come to life.

Koto Bolofo Printing Texts by Koto Bolofo Book design by Koto Bolofo and Gerhard Steidl With a video by Koto Bolofo on DVD 152 pages 11.4 × 12.6 in. / 29 × 37 cm 130 color photographs Four-color process Hardcover € 45.00 / £ 38.00 / US$ 50.00 ISBN 978-3-86930-636-0

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Koto Bolofo was born in South Africa in 1959 and raised in Great Britain. Bolofo has photographed for magazines such as Vogue, Vanity Fair and GQ and made short films for the Berlinale and Venice Film Festival. He has created advertising campaigns for companies including Hermès, Christian Dior, Louis Vuitton and Dom Pérignon. Bolofo’s books with Steidl include Venus (2008), Horse Power (2010), I Spy with my Little Eye, Something beginning with S (2010), Grande Complication (2010), Vroom! Vroom! (2010), La Maison (2011), Lord Snowdon (2012) and The Prison (2014).

Hahnemühle is the oldest paper mill in Germany — and indeed the world — which has consistently produced fine art paper since its inception over 400 years ago. Using their own supply of spring water and imported pulps, Hahnemühle crafts luxury papers based on timetested traditional methods. In Papermaking, Koto Bolofo graphically captures Hahnemühle’s artisanal processes and antique machinery alongside today’s most advanced technologies, uncovering the attention to detail, vision and pride that have sustained the company’s unmatched reputation for centuries.

Koto Bolofo Papermaking Text by Koto Bolofo and Gerhard Steidl Book design by Koto Bolofo and Gerhard Steidl 160 pages 11.4 × 14.6 in. / 29 × 37 cm 148 black-and-white photographs Tritone Clothbound hardcover € 45.00 / £ 38.00 / US$ 50.00 ISBN 978-3-86930-637-7

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Sébastien Lifshitz was born in Paris in 1968. After studying art history, he began working in contemporary art in 1990, assisting curator Bernard Blistène at the Centre Pompidou, and photographer Suzanne Lafont. In 1994, Lifshitz turned to filmmaking, dedicating equal attention to fiction and documentary. His films have received numerous awards such as the Prix Jean Vigo, the Kodak Award, the Berlin Film Festival’s Teddy twice, and the Best Documentary Film César 2013 for “The Invisibles.” Lifshitz’s “Bambi” was selected at the 2013 Berlinale.

Amateur consists of four volumes and unites a vast collection of amateur photographs assembled by filmmaker Sébastien Lifshitz over the last twenty years. Found at flea markets all over the world and in photo galleries or on the Internet, they are divided into four themes: the uncanny, empty places, blurs, and beachsides. Each volume revolves around one of these recurring themes, playing with the different frames, the changes of light, movement and subject in order to create an immense poetic collage. These amateur images, slipped out of family albums to randomly enter the world, offering themselves to those who care to take them on, made me realize what really fascinates me about photography: the longevity of its traces, the manifestation of forgotten lives. In his book Camera Lucida, Roland Barthes called it the ‘that-has-been.’ I hold the proof of those people’s existence in my hands. — Sébastien Lifshitz

Slipcase

Sébastien Lifshitz Amateur Book design by Sébastien Lifshitz, Gerhard Steidl and Victor Balko Vol. I: Superfreak, 160 pages Vol. II: Under the sand, 152 pages Vol. III: Someone was here, 168 pages Vol. IV: Flou, 152 pages 7.9 × 8 in. / 20 × 20.3 cm 486 color and black-and-white photographs Four-color process Four clothbound hardcover books housed in a slipcase € 75.00 / £ 58.00 / US$ 90.00 ISBN 978-3-86930-739-8

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Kiluanji Kia Henda was born in Luanda in 1979, and his work has been inspired by John Liebenberg’s photojournalism on apartheid and the Angolan civil war in the late 1990s. Kia Henda’s work has been shown in various exhibitions and biennials including the African Pavilion at the 23rd Venice Biennale, the 3rd Triennial of Guangzhou, and the Studio Museum in Harlem, New York. In 2012 he received the National Award for Culture and the Arts from the Angolan Ministry of Culture. In 2014 he was included in the exhibition “Die Göttliche Kommödie” at Frankfurt’s Museum für Moderne Kunst. Kia Henda lives in Luanda and Lisbon.

Travelling to the Sun through the Night assembles photo­graphs predominantly of Angola and its elusive capital, Luanda, from 2005 to 2013. It was only in 2002 that the civil war ended that tormented Angola since its independence in 1975, and the early years of the new millennium were a parti­cular post-war moment. During this time Luanda and Angola were engaged in unstable processes of re-making, remembering, and re-inventing themselves. Kia Henda chronicles these happenings in a strong theatrical and narrative gesture, creating inventive histories of his country, on the interval, as he puts it, “between history and fiction.” Kia Henda’s photography is marked by its increasing refusal to simply show. His lens-based practice oscillates between an optimistic faith in the vérité style of documentary, and a more playful engagement with the photographs as pliable fictions, and also as artifacts of the ephemeral, performance in particular. — Sean O’Toole Co-published with the Goethe-Institut

Kiluanji Kia Henda Travelling to the Sun through the Night Bilingual edition English and Portuguese Edited by Johannes Hossfeld Texts by Kiluanji Kia Henda, Simon Njami and Laurie Ann Farrell Book design by Kiluanji Kia Henda and Gerhard Steidl 320 pages 11.6 × 9 in. / 29.5 × 23 cm 240 color photographs Four-color process Hardcover € 58.00 / £ 45.00 / US$ 75.00 ISBN 978-3-86930-800-5

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Guido Mocafico was born in Switzerland in 1962, and today works in Switzerland and Paris. A specialist in still-life photography, he contributes regularly to leading fashion publications including Vogue, Harper’s Bazaar and V Magazine. Mocafico has photographed advertising campaigns for luxury brands including Chanel and Yves Saint Laurent, and his books at Steidl include Venenum (2005), Medusa (2006), Serpens (2008), Movement (2008), and Stilleven (2012).

In 1999, pioneering fashion editor and stylist Babeth Djian founded Numéro, the now famous Paris magazine with an unmistakable aesthetic that boldly combines fashion, contemporary art, music and design. Guido Mocafico has photographed provocative still lifes for Numéro since its first issue, and this comprehensive three-volume publication contains all this work to date. Every month Babeth gives Mocafico carte blanche for the closing pages of Numéro, a rare privilege in today’s advertising-driven fashion magazines. In response he creates radical still lifes (of objects including perfume bottles, shoes, watches and jewelry) that incorporate the genres of architecture, landscape and nude photography, and make comparable work in other magazines look like uninspired product shots. The experimental forum offered to Mocafico by Numéro facilitates his maverick, sometimes critical view of contemporary vanity, and has given birth to some of his larger influential series including “Medusa,” “Movement,” “Serpens” and “Stilleven.”

Guido Mocafico Mocafico Numéro Edited by Patrick Remy Interview between Guido Mocafico and Babeth Djian Book design by Guido Mocafico and Gerhard Steidl Vol. 1: 192 pages Vol. 2: 192 pages Vol. 3: 192 pages 10.8 × 14 in. / 27.5 × 35.5 cm Four-color process Three otabind brochures housed in a slipcase € 175.00 / £ 150.00 / US$ 195.00 ISBN 978-3-86930-907-1

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Erwin Blumenfeld was born in Berlin in 1897 and began photographing in the 1930s. He first worked in the N ­etherlands and in Paris and emigrated to the US in 1941. Blumenfeld managed to establish himself as a fashion photographer in New York in the 1940s and 1950s. He died in Rome in 1969.

Erwin Blumenfeld was one of the most sought-after and best-paid fashion photographers of his time, shooting for Vogue, Harper’s Bazaar, Cosmopolitan and Life. Influenced by the surrealists and the artistic avant-gardes, he challenged the genre’s conventions in his early fashion photographs with fascinating originality and perfection. Although Blumenfeld left to posterity a considerable oeuvre of color photographs, so far only his magazine spreads were really known. For this volume, the original slides were recovered from Blumenfeld’s extensive archive and digitally reconstructed. His compositions can thus be seen for the first time in their original form and colorfulness. Every page is seen by millions of people and we are responsible for the taste of tomorrow. Our pictures are the essence of a page and every page has to have its own face, its own spirit, to catch millions of eyes or it’s only a scrap of printed matter. — Erwin Blumenfeld

Erwin Blumenfeld Blumenfeld Studio Texts by François Cheval, Ute Eskildsen, Nadia Blumenfeld Charbit, Emilie Bernard, Sylvain Charles, Rudolf Gschwind and Helen Adkins Book design by Bernard Fischer / Steidl Design 208 pages 8.7 x 10.6 in. / 22 x 27 cm 275 color photographs Four-color process Paperback € 34.00 / £ 28.00 / US$ 40.00 ISBN 978-3-86930-531-8

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© The Estate of Erwin Blumenfeld

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Aline Diépois and Thomas Gizolme live and work together in Paris. Both artistic directors and photographers, they share their time between commissioned and personal projects. Their first book, Dust Book, was released by Steidl in 2009.

In the valleys, from the high summits that surround Zermatt, the gigantic movement of the glacier is frozen, like an ­irreversible snapshot. Here, the seasons pass one after the other, but have no power over a history that has fallen to pieces. The rare human silhouettes and color are incorporated into this immobile flux like annexes to the autarkic ­oxygen of Zermatt as a place. The imprint of plants appears to be mineral and gigantic, the summits and perspectives are turned upside down, the immobility of stone and ice resembles a fossilized tumult, a flow of ages. The almost total effacing of intention in these photographs lets other things appear — as if by imposition — in the glacial mist or the p ­ astel intoxicated by altitude: a form of nature in which texture and matter take on the aspect of puzzles, fractals, the ­interweaving of crystals and of gypsum. These ups and downs of mute logic and unthought-of mirror-games have laid down their principles for the c ­ omposition of a book, reinforcing this choice by using over-aged rolls of film whose texture, matured by the coldness of wintry mountains, has worked alone, with its specifically intimate process. Since the image has been captured in this form of withdrawal, its pictorial force comes across as a natural element: a contemplated, integral secret. We wanted to capture the emotion, the abstract essence of these mountains. — Aline Diépois and Thomas Gizolme

Aline Diépois and Thomas Gizolme Abstrakt Zermatt Book design by Aline Diépois and Thomas Gizolme 96 pages 9 × 11.8 in. / 23 × 30 cm 73 color photographs Four-color process Clothbound hardcover with dust jacket € 38.00 / £ 30.00 / US$ 45.00 ISBN 978-3-86930-580-6

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François-Marie Banier was born in Paris in 1947. A novelist and playwright, he has also been taking photographs of public figures and anonymous people in the street since the 1970s. In 1991, the Centre Pompidou exhibited his photographic works for the first time, and further exhibitions have since been shown throughout Europe, Asia and America. The Maison Européenne de la Photographie in Paris presented a retrospective of Banier’s work in 2003, exhibiting his “written” and “painted” photographs for the first time. Banier lives and works in Paris.

In Imprudences François-Marie Banier reveals himself once again as a great observer. Focusing mainly on portraits of people and animals and on still lifes, these black-and-white photographs take us to the streets, cafes, abodes and Banier’s ateliers in different cities all over the world. Partly adorned with Banier’s arabesque handwriting, which adds a further layer to his images, we are presented with a collage-like ensemble of looks, poems, drawings and thoughts. I love people. No matter whether I’m working as a novelist, a playwright or a photographer, I am above all half a child who eternally wants to know who is who. At first sight, beyond a face, an attitude, a glance, I can see a figure, a style, an interior world — vibrant under moon or sunlight, and the strength we all have to keep going under storms, doubts, laughter — to reach our secret paradises. — François-Marie Banier

François-Marie Banier Imprudences Texts by François-Marie Banier and Jan Hoet Book design by François-Marie Banier, Martin d’Orgeval and Gerhard Steidl 224 pages 7.1 × 9.7 in. / 18 × 24.5 cm 96 black-and-white photographs Tritone Hardcover € 38.00 / £ 32.00 / US$ 45.00 ISBN 978-3-86930-919-4

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Martin d’Orgeval was born in Paris in 1973, where he today lives and works. He has exhibited internationally at institutions including the Maison Européenne de la Photographie, Paris; the Musée de la Chasse et de la Nature, Paris; Villa Oppenheim, Berlin; Museo Archeologico Nazionale, Naples; Galerie Hussenot, Paris; Adamson Gallery, Washington; Pace Gallery, Beijing; and Andrea Rosen Gallery, New York. D’Orgeval’s books with Steidl include Touché par le feu (2009) and The Soul (2010).

At first Martin d’Orgeval’s fifth monograph, Découpages, appears as a collection of found objects, an anonymous catalogue with an unknown purpose. As the book unfolds, our vision embarks on a mysterious journey: the photographer’s unmitigated attention to shapes and shades, and lines and surfaces, challenges our ingrained viewing habits. Our personal associations and perceptions mingle with photographs of stacked marble plates in which nature and man’s intervention combine to produce self-processed, “cut-out” drawings and structures, “découpages” — a symbolic echo of what early pioneer of photography William Henry Fox Talbot coined in The Pencil of Nature (1844–46), the first commercially produced book illustrated with photographs. To reveal by concealing, to say with silence, to enlighten within shadow, here is my wish. — Martin d’Orgeval

Martin d’Orgeval Découpages Features fax correspondence between Gerhard Steidl and the artist Book design by Martin d’Orgeval and Gerhard Steidl 64 pages 8.1 × 10 in. / 20.5 × 25.5 cm 18 black-and-white photographs Tritone Spiralbound brochure housed in a box € 45.00 / £ 40.00 / US$ 50.00 ISBN 978-3-86930-998-9

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Marq S ­utherland, born in San Diego in 1974, grew up in an artistic family. In 1998 he became assistant to contemporary landscape painter Woody Gwyn and began his photographic studies with David Scheinbaum and Steve Fitch at the College of Santa Fe, graduating in 2001 with a self-designed Bachelor of Arts in photography, music and technology. He continued his studies with Jack Fulton at the San Francisco Art Institute, receiving a Master of Fine Arts in 2005. Sutherland was a f ­inalist for the 2002 Willard Van Dyke Award, and received a SFAI Teaching Assistantship Award in 2004 and a Helen Wurlitzer Foundation Fellowship in 2008. He lives and works in Bilbao, Spain.

Pilgrim is a visual journey into one woman’s life through the eyes of her parents, husband and son. In her last years, Marq Sutherland returned home to help his mother through this time during which they spoke about a recurring subject — her past. Years before, Pilgrim had given him his maternal grandfather’s and father’s photographic negatives. Sifting through thousands of images unseen for decades, Sutherland found many photographs which depicted his mother’s life from the moment of birth, and saw how he might complete her story with love and dignity — how they both might hold onto life as they learned to let go. For me, this book has become both a way to honor the life of my mother, Pilgrim Sutherland, and to connect and ­collaborate with my grandparents, Poul de Hoffmann and Elsie Boote de Hoffmann, and my father Frank Sutherland through the images they left behind. — Marq Sutherland

Marq Sutherland Pilgrim Book design by Marq Sutherland and Gerhard Steidl Three volumes, 80 pages each 8.3 × 5.1 in. / 21 × 13 cm Vol. 1 (Daughter): 59 color photographs Vol. 2 (Wife): 51 color photographs Vol. 3 (Mother): 66 color photographs Four-color process Three softcover books housed in a slipcase € 40.00 / £ 32.00 / US$ 50.00 ISBN 978-3-86930-695-7

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Book 1: Daughter

Book 2: Wife

Book 3: Mother 147

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Curtis Moffat was born in New York in 1887. He studied painting in New York and Paris and collaborated with Man Ray, producing portraits and abstract photograms. In the mid-1920s, Moffat opened an interior design company and avant-garde picture gallery in London. He moved back to the US in 1939 and turned his attention again to painting until his death ten years later.

This is the first publication on American artist Curtis Moffat who is known for his dynamic abstract photographs, innovative color still lifes and some of the most glamorous society portraits of the early twentieth century. Moffat was also a pivotal figure in Modernist interior design and furniture. Living in London throughout the 1920s and early ’30s during the era of the “Bright Young Things,” Moffat produced stylish photographic portraits of leading figures in high society, stage, theater and the arts, including Cecil Beaton, The Sitwells, Nancy Cunard, Lady Diana Cooper, Tallulah Bankhead and Daphne Du Maurier. In 2003 and 2007, Moffat’s daughter, Penelope Smail, generously donated his extensive archive to the Victoria and Albert Museum. This book is drawn from that archive and also includes digital reconstructions of color images from original tri-carbro process blackand-white negatives. It reveals Moffat’s pioneering yet little-known photography in all its depth and beauty. A gentle, quiet, easy-going man with velvet eyes and enormous charm, Curtis Moffat was the most Europeanized of Americans. He seemed to be only “at home” in the quietness of his book-filled rooms. But appearances are deceptive; in fact he was the center of enormous creative activity. — Cecil Beaton

Martin Barnes (ed.) Curtis Moffat: Silver Society. Experimental Photography and Design, 1923–1935 Essays by Mark Haworth-Booth, Martin Barnes and James Stevenson Book design by Duncan Whyte / Steidl Design 240 pages 9.1 × 12.6 in. / 23 × 32 cm 140 color photographs Four-color process Clothbound hardcover with dust jacket € 44.00 / £ 38.00 / US$ 50.00 ISBN 978-3-95829-027-3

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Abbott, Berenice The Unknown Berenice Abbott

Adams, Robert Tree Line

€ 285.00 / £ 240.00 / US$ 350.00 ISBN 978-3-86930-650-6

€ 35.00 / £ 30.00 / US$ 50.00 ISBN 978-3-86521-956-5

A-chan Off Beat

Adams, Robert The Place We Live

€ 20.00 / £ 16.00 / US$ 25.00 ISBN 978-3-86930-416-8

€ 148.00 / £ 125.00 / US$ 250.00 ISBN 978-3-86930-533-2

A-chan Vibrant Home

Alvermann, Dirk Algeria

€ 20.00 / £ 16.00 / US$ 25.00 ISBN 978-3-86930-415-1

€ 18.00 / £ 15.00 / US$ 25.00 ISBN 978-3-86930-255-3

Achermann, Beda Big Time — Männervogue, 1984–1989

Bacigalupo, Martina Gulu Real Art Studio

€ 65.00 / £ 54.00 / US$ 85.00 ISBN 978-3-86930-638-4

€ 38.00 / £ 30.00 / US$ 45.00 ISBN 978-3-86930-696-4

Adams, Bryan Wounded: The Legacy of War

Bailey, David Bailey’s East End

€ 58.00 / £ 48.00 / US$ 75.00­ ISBN 978-3-86930-677-3

€ 98.00 / £ 75.00 / US$ 125.00 ISBN 978-3-86930-534-9

Adams, Robert Gone?

Bailey, David Bailey’s Democracy

€ 49.50 / £ 44.00 / US$ 65.00 ISBN 978-3-86521-917-6

€ 44.00 / £ 30.00 / US$ 65.00 ISBN 978-3-86521-192-7

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Bailey, David Havana

Bailey, David Eye

Baltz, Lewis Common Objects

Baumbach, Noah Frances Ha

€ 45.00 / £ 30.00 / US$ 65.00 ISBN 978-3-86521-270-2

€ 48.00 / £ 44.00 / US$ 65.00 ISBN 978-3-86521-708-0

€ 40.00 / £ 30.00 / US$ 50.00 ISBN 978-3-86930-785-5

€ 78.00 / £ 68.00 / $ 95.00 ISBN 978-3-86930-731-2

Bailey, David Is That So Kid

Bailey, David Dehli Dilemma

Baltz, Lewis Texts

Beuys, Joseph; Staeck, Klaus Honey is flowing in all directions

€ 45.00 / £ 30.00 / US$ 65.00 ISBN 978-3-86521-632-8

€ 88.00 / £ 70.00 / US$ 125.00 ISBN 978-3-86521-991-6

€ 24.00 / £ 20.00 / US$ 30.00 ISBN 978-3-86930-436-6

€ 24.50 / £ 17.50 / US$ 29.95 ISBN 978-3-88243-538-2

Bailey, David NY JS DB 62

Bailey, David Tears and Tears

Baltz, Lewis Candlestick Point

Bolofo, Koto Große Komplikation / Grand Complication

€ 40.00 / £ 28.00 / US$ 65.00 ISBN 978-3-86521-414-0

€ 58.00 / £ 48.00 / US$ 65.00 ISBN 978-3-86930-989-7

€ 58.00 / £ 48.00 / US$ 70.00 ISBN 978-3-86930-109-9

Bailey, David Pictures that Mark Can Do

Balthus The Last Studies

Baltz, Lewis Venezia Maghera

Bolofo, Koto La Maison

€ 45.00 / £ 30.00 / US$ 65.00 ISBN 978-3-86521-367-9

€ 480.00 / £ 400.00 / US$ 850.00 ISBN 978-3-86930-685-8

€ 7,500.00 / £ 6,300.00 / US$ 9,600.00 ISBN 978-3-86930-313-0

€ 175.00 / £ 149.00 / US$ 125.00 ISBN 978-3-86521-912-1

Bailey, David 8 Minutes

Baltz, Lewis Works

Banier, François-Marie Perdre la tête

Bolofo, Koto Lord Snowdon

€ 44.00 / £ 40.00 / US$ 65.00 ISBN 978-3-86521-864-3

€ 700.00 / £ 600.00 / $ 1,000.00 ISBN 978-3-86930-114-3

€ 26.00 / £ 20.00 / US$ 50.00 ISBN 978-3-86521-234-4

€ 75.00 / £ 59.00 / US$ 65.00 ISBN 978-3-86930-329-1

Bailey, David Flowers, Skulls, Contacts

Baltz, Lewis Rule Without Exception / Only Exceptions

Bartos, Adam Darkroom

Bolofo, Koto Venus Williams

€ 65.00 / £ 50.00 / US$ 75.00 ISBN 978-3-86930-332-1

€ 42.00 / £ 30.00 / US$ 65.00 ISBN 978-3-86521-602-1

€ 56.00 / £ 49.00 / US$ 65.00 ISBN 978-3-86930-128-0

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€ 65.00 / £ 50.00 / US$ 80.00 ISBN 978-3-86930-110-5

€ 98.00 / £ 89.00 / US$ 100.00 ISBN 978-3-86930-055-9

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Bolofo, Koto Vroom! Vroom!

Burtynsky, Edward Water

Cohen, John Here and Gone

D'Agati, Mauro Marzia's Family

€ 56.00 / £ 52.00 / US$ 65.00 ISBN 978-3-86521-961-9

€ 98.00 / £ 85.00 / US$ 125.00 ISBN 978-3-86930-679-7

€ 38.00 / £ 32.00 / US$ 48.00 ISBN 978-3-86930-604-9 —

€ 40.00 / £ 34.00 / US$ 45.00 ISBN 978-3-86930-605-6

Bolofo, Koto / Van Ryssen-Bolofo, Claudia The Prison

Callahan, Harry Seven Collages

Cohen, John The High & Lonesome Sound

Davidson, Bruce In Color

€ 28.00 / £ 22.00 / US$ 40.00 ISBN 978-3-86930-140-2

€ 45.00 / £ 35.00 / US$ 50.00 ISBN 978-3-86930-254-6

€ 78.00 / £ 68.00 / US$ 85.00 ISBN 978-3-86930-564-6

Bolofo, Koto Rolls Royce

Campany, David (ed.) Walker Evans: the magazine work

Cohen, John Walking in the Light

Davidson, Bruce Subway

€ 78.00/ £ 65.00 / US$ 65.00 ISBN 978-3-86930-645-2

€ 48.00 / £ 35.00 / US$ 65.00 ISBN 978-3-86930-259-1

€ 38.00 / £ 30.00 / US$ 45.00 ISBN 978-3-86930-772-5

€ 58.00 / £ 52.00 ISBN 978-3-86930-294-2

Brookman, Philip Redlands

Cartier-Bresson, Henri The Decisive Moment

D’Agati, Mauro Alamar

Davidson, Bruce Black & White

€ 28.00 / £ 24.00 / $ 34.00 ISBN 978-3-86930-686-5

€ 98.00 / £ 78.00 / US$ 125.00 ISBN 978-3-86930-788-6

€ 45.00 / £ 35.00 / US$ 50.00 ISBN 978-3-86521-954-1

€ 248.00 / £ 220.00 / US$ 250.00 ISBN 978-3-86930-432-8

Burtynsky, Edward Oil

Clay, Maude Schuyler Mississippi History

D’Agati, Mauro Sit Lux et Lux Fuit

Davidson, Bruce Outside Inside

€ 98.00 / £ 85.00 / US$ 125.00 ISBN 978-3-86521-943-5

€ 65.00 / £ 58.00 / US$ 75.00 ISBN 978-3-86930-974-3

€ 48.00 / £ 38.00 / US$ 50.00 ISBN ISBN 978-3-86930-488-5

€ 185.00 / £ 158.00 / US$ 250.00 ISBN 978-3-86521-908-4

Burtynsky, Edward Quarries

Close, Chuck Sribble Book: Self Portrait

D’Agati, Mauro Palermo Unsung

Davidson, Bruce England / Scotland 1960

€ 68.00 / £ 60.00 / US$ 125.00 ISBN 978-3-86521-456-0

€ 85.00 / £ 70.00 / US$ 150.00 ISBN 978-3-86521-492-8

€ 45.00 / £ 39.50 / US$ 50.00 ISBN 978-3-86521-918-3

€ 45.00/ £ 38.00 / US$ 58.00 ISBN 978-3-86930-553-0

€ 58.00/ £ 48.00 / US$ 65.00 ISBN 978-3-86930-600-1

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Davidson, Bruce Los Angeles 1964

Depardon, Raymond Adieu Saigon

Dine, Jim Entrada Drive

Doisneau, Robert From Craft to Art

€ 38.00 / £ 30.00 / US$ 45.00 ISBN 978-3-86930-789-3

€ 20.00 / £ 14.00 / $ 25.00 ISBN 978-3-86930-922-4

€ 50.00 / £ 35.00 / US$ 70.00 ISBN 978-3-86521-080-7

€ 38.00 / £ 34.00 / US$ 50.00 ISBN 978-3-86930-025-2

Davidson, Bruce Nature of Los Angeles

diCorcia, Philip-Lorca Hustlers

Dine, Jim The Photographs, So Far (vols. 1-4)

Douglas, Stan Stan Douglas

€ 38.00 / £ 30.00 / US$ 45.00 ISBN 978-3-86930-814-2

€ 98.00 / £ 78.00 / US$ 125.00 ISBN 978-3-86930-617-9

De Pietri, Paola To Face

Dine, Jim My Tools

€ 58.00 / £ 48.00 / US$ 65.00 ISBN 978-3-86930-342-0

€ 28.00 / £ 20.00 / US$ 35.00 ISBN 978-3-86930-828-9

Dean, Tacita Seven Books Grey

Dine, Jim A History of Communism

Dine, Jim This Is How I Remember Now

Eggleston, William From Black and White to Color

€ 78.00 / £ 65.00 / US$ 100.00 ISBN 978-3-86930-299-7

€ 15.00 / £ 12.00 / US$ 18.00 ISBN 978-3-86930-791-6

€ 48.00 / £ 33.00 / US$ 50.00 ISBN 978-3-86521-603-8

€ 38.00 / £ 32.00 / US$ 45.00 ISBN 978-3-86930-793-0

Depardon, Raymond Manhattan Out

Dine, Jim Donkey in the Sea before Us

Dine, Jim Hello Yellow Glove

Eggleston, William Los Alamos

€ 30.00 / £ 25.00 / US$ 45.00 ISBN 978-3-86521-704-2

€ 12.00 / £ 10.00 / US$ 14.95 ISBN 978-3-86930-451-9

€ 28.00 / £ 20.00 / US$ 28.00 ISBN 978-3-86930-484-7

€ 248.00 / £ 220.00 / US$ 300.00 ISBN 978-3-86930-532-5

Depardon, Raymond Berlin

Dine, Jim Birds

Dine, Jim Printmaker’s Document

Eggleston, William Before Color

€ 48.00 / £ 40.00 / $ 58.00 ISBN 978-3-86930-790-9

€ 49.00 / £ 35.00 / US$ 50.00 ISBN 978-3-88243-240-4

€ 30.00 / £ 25.00 / US$ 40.00 ISBN 978-3-86930-644-5

€ 48.00 / £ 40.00 / US$ 65.00 ISBN 978-3-86930-122-8

€ 150.00 / £ 100.00 / US$ 180.00 ISBN 978-3-88243-905-2

Dine, Jim This Goofy Life of Constant Mourning € 70.00 / £ 48.00 / US$ 50.00 ISBN 978-3-88243-967-0

€ 58.00/ £ 48.00 / US$ 75.00 ISBN 978-3-86930-748-0

Dupont, Stephen Generation AK € 78.00 / £ 65.00 / US$ 90.00 ISBN 978-3-86930-727-5

Backlist

157

Eggleston, William At Zenith

Epstein, Mitch American Power

Forsslund, Maja Akt

Frank, Robert Come Again

€ 48.00 / £ 38.00 / US$ 65.00 ISBN 978-3-86930-710-7

€ 58.00 / £ 48.00 / US$ 75.00 ISBN 978-3-86521-924-4

€ 48.00 / £ 38.00 / US$ 45.00 ISBN 978-3-86521-410-2

€ 30.00 / £ 20.00 / US$ 40.00 ISBN 978-3-86521-261-0

Eggleston, William The Democratic Forest

Ewald, Wendy (et al)

Franck, Martine Women / Femmes

Frank, Robert Frank Films – The Film and Video Work of Robert Frank

€ 550.00 / £ 420.00 / US$ 600.00 ISBN 978-3-86930-792-3

158

Backlist

€ 24.00 / £ 18.00 / US$ 30.00 ISBN 9-783-86930-741-1

€ 35.00 / £ 31.00 / US$ 50.00 ISBN 978-3-86930-149-5

€ 32.00 / £ 27.00 / US$ 45.00 ISBN 978-3-86521-815-5

Elgort, Arthur The Big Picture

Fäldt, Tobias Year One

Frank, Robert In America

Frank, Robert Pull My Daisy

€ 78.00 / £ 68.00 / US$ 90.00 ISBN 978-3-86930-543-1

€ 38.00 / £ 30.00 / US$ 45.00 ISBN 978-3-86521-537-6

€ 48.00 / £ 40.00 / US$ 55.00 ISBN 978-3-86930-735-0

€ 17.50 / £ 14.00 / US$ 20.00 ISBN 978-3-86521-673-1

Eneroth, Joakim Swedish Red

Fernandes, Walter Angola Cinemas

Greenough, Sarah (ed.) Looking In Robert Frank The Americans

Frank, Robert Henry Frank, Father Photographer

€ 28.00 / £ 20.00 / US$ 35.00 ISBN 978-3-86521-613-7

€ 45.00 / £ 38.00 / $ 59.95 ISBN 978-3-86930-794-7

Epstein, Mitch New York Arbor

Ferrez, Marc / Polidori, Robert Rio

Frank, Robert Partida

Frank, Robert Me and My Brother

€ 58.00 / £ 38.00 / US$ 68.00 ISBN 978-3-86930-581-3

€ 95 / £ 80.00 / $ 100.00 ISBN 978-3-86930-910-1

€ 25.00 / £ 22.00 / US$ 30.00 ISBN 978-3-86930-795-4

€ 40.00 / £ 28.00 / US$ 50.00 ISBN 978-3-86521-363-1

Epstein, Mitch Berlin

Folkwang Japanese Inspirations

Frank, Robert The Americans

Frank, Robert New York to Nova Scotia

€ 45.00 / £ 36.00 / US$ 55.00 ISBN 978-3-86930-224-9

€ 39.00 / £ 32.00 / $ 45.00 ISBN 978-3-86930-899-9

€ 30.00 / £ 20.00 / US$ 40.00 ISBN 978-3-86521-584-0

€ 25.00 / £ 17.50 / US$ 45.00 ISBN 978-3-86521-013-5

€ 85.00 / £ 75.00 / US$ 100.00 ISBN 978-3-86521-806-3

€ 24.00 / £ 20.00 / US$ 25.00 ISBN 978-3-86521-814-8

Backlist

159

160

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Frank, Robert One Hour

Frank, Robert Zero Mostel reads a book

Goldblatt, David Particulars

€ 18.00 / £ 12.50 / US$ 20.00 ISBN 978-3-86521-364-8

€ 17.50 / £ 14.00 / US$ 20.00 ISBN 978-3-86521-586-4

€ 58.00 / £ 42.00 / US$ 70.00 ISBN 978-3-86930-777-0

Frank, Robert Paris

Frank, Robert Valencia

Goldblatt, David Regarding Intersections

€ 30.00 / £ 25.00 / US$ 45.00 ISBN 978-3-86521-524-6

€ 38.00 / £ 30.00 / US$ 50.00 ISBN 978-3-86930-502-8

€ 68.00 / £ 58.00 / US$ 85.00 ISBN 978-3-86930-714-5

Frank, Robert Pangnirtung

Frank, Robert Household Inventory Record

Goldblatt, David The Transported of Kwandebele

€ 25.00 / £ 22.00 / US$ 40.00 ISBN 978-3-86930-198-3

€ 30.00 / £ 25.00 / US$ 35.00 ISBN 978-3-86930-660-5

€ 65.00 / £ 48.00 / US$ 80.00 ISBN 978-3-86930-586-8

Frank, Robert Tal Uf Tal Ab

Freed, Leonard Made in Germany

Gossage, John The Thirty-Two Inch Ruler / Map of Babylon

Greenberg, Howard / Shamis, Bob (eds.) Leon Levinstein

€ 25.00 / £ 22.00 / US$ 30.00 ISBN 978-3-86930-101-3

€ 48.00/ £ 40.00 / US$ 65.00 ISBN 978-3-86930-684-1

€ 58.00 / £ 52.00 / US$ 45.00 ISBN 978-3-86521-710-3

€ 68.00 / £ 58.00 / US$ 85.00 ISBN 978-3-86930-443-4

Frank, Robert You Would

Goldberg, Jim Rich and Poor

Graffenried, Michael von Bierfest

Guirey, Kadir L’album d’Eddy

€ 25.00 / £ 22.00 / US$ 30.00 ISBN 978-3-86930-418-2

€ 65.00 / £ 55.00 / US$ 100.00 ISBN 978-3-86930-688-9

€ 34.00 / £ 25.00 / US$ 40.00 ISBN 978-3-86930-680-3

€ 34.00 / £ 28.00 / US$ 45.00 ISBN 978-3-86930-548-6

Frank, Robert Park / Sleep

Goldblatt, David On the Mines

Grass, Günter Günter Grass Catalogue Raisonné 1 The Etchings

Gundlach, F.C. The Photographic Work

€ 25.00 / £ 22.00 / US$ 30.00 ISBN 978-3-86930-585-1

€ 58.00 / £ 48.00 / US$ 75.00 ISBN 978-3-86930-491-5

€ 98.00 / £ 70.00 / US$ 125.00 ISBN 978-3-86521-565-9

Grass, Günter Günter Grass Catalogue Raisonné 2 The Lithographs € 98.00 / £ 70.00 / US$ 125.00 ISBN 978-3-86521-566-6

Howard Greenberg Collection € 38.00 / £ 32.00 / US$ 48.00 ISBN 978-3-86930-736-7

Greenberg, Howard / Shamis, Bob (eds.) James Karales € 58.00 / £ 45.00 / US$ 68.00 ISBN 978-3-86930-444-1

€ 65.00 / £ 48.00 / US$ 75.00 ISBN 978-3-86521-594-9

Backlist

161

Haas, Ernst On Set

Horn, Rebecca The Maribor Project

Horn, Roni Her, Her, Her, & Her

Horn, Roni AKA

€ 58.00 / £ 48.00 / $ 70.00 ISBN 978-3-86930-587-5

€ 28.00 / £ 22.00 / US$ 40.00 ISBN 978-3-86930-633-9

€ 35.00 / £ 24.00 / US$ 40.00 ISBN 978-3-86521-035-7

€ 35.00 / £ 25.00 / US$ 60.00 ISBN 978-3-86930-133-4

Hara, Cristóbal Autobiography

Hoffmann, Maja This is the House that Jack Built

Horn, Roni Index Cixous

Horn, Roni Hack Wit

€ 30.00 / £ 20.00 / US$ 40.00 ISBN 978-3-86521-472-0

€ 48.00 / £ 35.00 / $ 65.00 ISBN 978-3-86930-935-4

€ 22.50 / £ 15.00 / US$ 20.00 ISBN 978-3-86521-135-4

€ 48.00 / £ 42.00 / US$ 60.00 ISBN 97-3-86930-982-8

‚

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Backlist

Harlech, Amanda Travelling in India

Hoppé, EO The German Work

Horn, Roni This is Me, This is You

Karasik, Mikhail The Soviet Photobook

€ 32.00 / £ 25.00 / US$ 40.00 ISBN 978-3-86930-393-2

€ 58.00 / £ 48.00 / $ 65.00 ISBN 978-3-86930-937-8

€ 28.00 / £ 18.00 / US$ 25.00 ISBN 978-3-88243-798-0

€ 125.00 / £ 98.00 / US$ 150.00 ISBN 978-3-95829-031-0

Hechenblaikner, Lois Winter Wonderland

Horn, Roni Another Water

Horn, Roni bird

Keïta, Seydou Photographs, Bamako, Mali, 1948–1963

€ 38.00 / £ 30.00 / US$ 40.00 ISBN 978-3-86930-284-3

€ 38.00 / £ 35.00 / US$ 45.00 ISBN 978-3-86930-318-5

€ 35.00 / £ 25.00 / US$ 50.00 ISBN 978-3-86521-669-4

Hoedt, Axel Dusk

Horn, Roni Haraldsdóttir, part two

Horn, Roni Roni Horn aka Roni Horn

Knape, Gunilla et all (eds.) Expedition Svalbard

€ 28.00 / £ 22.00 / $ 38.00 ISBN 9787-3-86930-797-8

€ 85.00 / £ 70.00 / US$ 95.00 ISBN 978-3-86930-317-8

€ 50.00 / £ 42.00 / US$ 70.00 ISBN 978-3-86521-831-5

€ 48.00 / £ 28.00 / US$ 58.00 ISBN 978-3-86930-590-5

Hoedt, Axel Once a Year

Horn, Roni Cabinet of

Horn, Roni Herdubreid at Home

Killip, Chris In Flagrante Two

€ 28.00 / £ 22.00 / $ 38.00 ISBN 978-3-86930-597-4

€ 65.00 / £ 40.00 / US$ 85.00 ISBN 978-3-88243-864-2

€ 20.00 / £ 13.00 / US$ 20.00 ISBN 978-3-86521-457-7

€ 65.00 / £ 58.00 / US$ 75.00 ISBN 978-3-86930-960-6

€ 98.00 / £ 86.00 / US$ 125.00 ISBN 978-3-86930-301-7

Backlist

163

164

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Killip, Chris Seacoal

Kuhn, Mona Photographs

Lagerfeld, Karl Casa Malaparte

Leiter, Saul Early Color

€ 48.00 / £ 40.00 / US$ 60.00 ISBN 978-3-86930-256-0

€ 40.00 / £ 28.00 / US$ 65.00 ISBN 978-3-86521-008-1

€ 34.00 / £ 28.00 / US$ 40.00 ISBN 978-3-95829-033-4

€ 38.00 / £ 32,00 / US$ 45.00 ISBN 978-3-86521-139-2

Killip, Chris Pirelli Work

Kuhn, Mona Private

Lagerfeld, Karl Villa Noailles

Leutwyler, Henry Ballet

€ 45.00 / £ 38.00 / US$ 50.00 ISBN 978-3-86930-961-3

€ 45.00 / £ 38.00 / US$ 60.00 ISBN 978-3-86930-709-1

€ 48.00 / £ 40.00 / US$ 60.00 ISBN 978-3-95829-037-2

€ 65.00 / £ 55.00 / $ 85.00 ISBN 978-3-86930-906-4

Killip, Chris Isle of Man Revisited

Lagerfeld, Karl Byzantine Fragments

Lagerfeld, Karl Fendi by Karl Lagerfeld

The Photographs of Abraham Lincoln

€ 48.00 / £ 40.00 / US$ 60.00 ISBN 978-3-86930-959-0

€ 85.00 / £ 72.00 / US$ 110.00 ISBN 978-3-86930-246-1

€ 125.00 / £ 100.00 / US$ 145.00 ISBN 978-3-95829-034-1

Kobal Foundation (ed.) Glamour of the Gods

Lagerfeld, Karl Metamorphoses of an American

Lagerfeld, Karl / Djian, Babeth Numéro Couture by Karl Lagerfeld

Ludwigson, Hakan Balls and Bulldust

€ 38.00 / £ 30.00 / US$ 45.00 ISBN 978-3-86521-682-3

€ 65.00 / £ 45.00 / US$ 85.00 ISBN 978-3-86521-522-2

€ 85.00 / £ 75.00 / US$ 95.00 ISBN 978-3-95829-057-0

€ 68.00 / £ 58.00 / $ 80.00 ISBN 978-3-86930-707-7

Kuhn, Mona Bordeaux

Lagerfeld, Karl Chanel Art

Leaf, June Record 1974/75

Lynch, David Works on Paper

€ 58.00 / £ 50.00 / US$ 65.00 ISBN 978-3-86930-308-6

€ 28.00 / £ 22.00 / US$ 40.00 ISBN 978-3-86930-766-4

€ 40.00 / £ 35.00 / US$ 50.00 ISBN 978-3-86930-045-0

€ 145.00 / £ 125.00 / US$ 150.00 ISBN 978-3-86930-130-3

Kuhn, Mona Evidence

Lagerfeld, Karl Glory of Water

Leiter, Saul Early Black and White

Maggs, Arnaud Arnaud Maggs

€ 40.00 / £ 28.00 / US$ 65.00 ISBN 978-3-86521-372-3

€ 88.00/ £ 70.00 / US$ 125.00 ISBN 978-3-86930-708-4

€ 64.00 / £ 58.00 / US$ 90.00 ISBN 978-3-86521-413-3

€ 65.00 / £ 50.00 / US$ 80.00 ISBN 978-3-86930-591-2

€ 58.00 / £ 48.00 / 59.90 ISBN 978-3-86930-917-0

Backlist

165

Maisel, David Black Maps

Mingard, Yann Deposit

Munkacsi, Martin Martin Munkacsi

Odermatt, Arnold Karambolage

€ 65.00 / £ 55.00 / US$ 85.00 ISBN 978-3-86930-537-0

€ 35.00 / £ 28.00 / US$ 50.00 ISBN 978-3-86930-762-6

€ 58.00 / £ 45.00 / US$ 75.00 ISBN 978-3-86521-269-6

€ 58.00 / £ 48.00 / US$ 80.00 ISBN 978-3-88243-866-6

Marchand, Yves / Meffre, Romain Gunkanjima

Mofokeng, Santu The Black Photo Album

Nádas, Péter Own Death

Odermatt, Arnold On Duty

€ 65.00 / £ 50.00 / US$ 85.00 ISBN 978-3-86930-546-2

€ 34.00 / £ 28.00 / US$ 50.00 ISBN 978-3-86930-310-9

€ 40.00 / £ 28.00 / US$ 50.00 ISBN 978-3-86521-010-4

€ 65.00 / £ 54.00 / US$ 80.00 ISBN 978-3-86521-336-5

Meer, Hans van der European Fields

Mofokeng, Santu Stories: 1, Train Church

Noguchi, Isamu A Sculptor's World

Odermatt, Arnold Off Duty

€ 38.00/ £ 32.00 / US$ 45.00 ISBN 978-3-86930-813-5

€ 28.00 / £ 25.00 / US$ 35.00 ISBN 978-3-86930-971-2

€ 48.00 / £ 40.00 / US$ 60.00 ISBN 978-3-86930-915-6

€ 65.00 / £ 54.00 / US$ 80.00 ISBN 978-3-86521-796-7

Michals, Duane A Visit with Magritte

Morris, Christopher Americans

Nozolino, Paulo bone lonely

Olsson, Mikael Södrakull Frösakull

€ 24.00 / £ 22.00 / US$ 30.00 ISBN 978-3-86521-987-9

€ 34.00 / £ 27.00 / US$ 40.00 ISBN 978-3-86930-448-9

€ 34.00 / £ 32.00 / US$ 35.00 ISBN 978-3-86521-861-2

€ 58.00 / £ 48.00 / US$ 70.00 ISBN 978-3-86930-059-7

Michener, Diana Figure Studies

Morris, Christopher My America

Nozolino, Paulo Far Cry

Orri Interiors

€ 28.00 / £ 24.00 / US$ 40.00 ISBN 978-3-86930-213-3

€ 35.00 / £ 27.00 / US$ 40.00 ISBN 978-3-86521-201-6

€ 45.00 / £ 30.00 / US$ 50.00 ISBN 978-3-86521-122-4

€ 48.00 / £ 38.00 / US$ 70.00 ISBN 978-3-86930-375-8

Domingo Milella

Muholi, Zanele Faces and Phases 2006-14

Nozolino, Paulo Makulatur

Packham, Monte Concentric Circles

€ 48.00 / £ 40.00 / US$ 65.00 ISBN 978-3-86930-807-4

€ 24.00 / £ 21.00 / US$ 35.00 ISBN 978-3-86930-327-7

€ 20.00 / £ 17.00 / US$ 27.50 ISBN 978-3-86930-024-5

€ 58.00 / £ 48.00 / $ 78.00 ISBN 978-3-86930-487-8

166

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Backlist

167

Parke, Trent The Christmas Tree Bucket, Trent Parke’s Family Album

Parks, Gordon Segregation Story

Polidori, Robert Parcours Muséologique Revisité

Rautert, Timm No Photographing (English)

€ 35.00 / £ 28.00 / $ 45.00 ISBN 978-3-86930-801-2

€ 98.00 / £ 85.00 / US$ 150.00 ISBN 978-3-86521-702-8

€ 38.00 / £ 32.00 / US$ 58.00 ISBN 978-3-86930-322-2

Parke, Trent Minutes to Midnight

Parr, Martin (ed.) The Protest Box

Polidori, Robert Chronophagia

Rheims, Bettina Bonkers! A Fortnight in London

€ 38.00 / £ 30.0 / US$ 45.00 ISBN 978-3-86930-205-8

€ 380.00 / £ 338.00 / US$ 285.00 ISBN 978-3-86930-124-2

€ 38.00 / £ 32.00 / US$ 50.00 ISBN 978-3-86930-698-8

€ 38.00 / £ 32.00 / US$ 50.00 ISBN 978-3-86930-803-6

Parks, Gordon A Harlem Family 1967

Paulsen, Susan Wilmot

Polidori, Robert Eye and I

Rheims, Bettina Gender Studies

€ 28.00 / £ 22.00 / US$ 40.00 ISBN 978-3-86930-602-5

€ 48.00 / £ 35.00 / US$ 60.00 ISBN 978-3-86930-565-3

€ 48.00/ £ 40.00 / US$ 65.00 ISBN 978-3-86930-698-8

€ 48.00 / £ 42.00 / US$ 65.00 ISBN 978-3-86930-802-9

Parks, Gordon The Making of an Argument

Paulsen, Susan Sarah Ryhmes with Clara

Powell, Luke Afghan Gold

MacGill, Peter / Steidl, Gerhard (eds.) Rodchenko

€ 35.00/ £ 28.00 / US$ 40.00 ISBN 978-3-86930-721-3

€ 34.00 / £ 40.00 / US$ 50.00 ISBN 978-3-86930-244-7

€ 98.00/ £ 95.00 / US$ 165.00 ISBN 978-3-86930-648-3

Parks, Gordon Collected Works

Pol, Andri Where is Japan

Prinz, Bernhard Latifundia

Rubins, Nancy Work

€ 125.00 / £ 99.00 / US$ 185.00 ISBN 978-3-86930-530-1

€ 56.00 / £ 48.00 / US$ 80.00 ISBN 978-3-86521-993-0

€ 45.00 / £ 35.00 / US$ 58.00 ISBN 978-3-86521-487-4

€ 125.00 / £ 100.00 / US$ 175.00 ISBN 978-3-86930-493-9

Parks, Gordon Back to Fort Scott

Polidori, Robert After the Flood

Purifoy, Noah High Desert

Ruetz, Michael Eye on Infinity

€ 35.00 / £ 28.00 /45.00 ISBN 978-3-86930-918-7

€ 75.00 / £ 50.00 / US$ 125.00 ISBN 978-3-86521-277-1

€ 40.00 / £ 38.00 / US$ 48.00 ISBN 978-3-86930-595-0

€ 48.00 / £ 35.00 / US$ 70.00 ISBN 978-3-86521-766-0

€ 38.00 / £ 45.00 / US$ 30.00 ISBN 978-3-86930-206-5

168

Backlist

€ 40.00 / £ 32.00 / US$ 60.00 ISBN 978-3-86930-245-4

Backlist

169

Ruetz, Michael Eye on Time € 48.00 / £ 35.00 / US$ 70.00 ISBN 978-3-86521-577-2

Rowell, Margit Ed Ruscha, Photographer € 38.00 / £ 30.00 / US$ 45.00 ISBN 978-3-86521-206-1

Ruscha, Ed THEN & NOW € 120.00 / £ 80.00 / US$ 175.00 ISBN 978-3-86521-105-7

Ruscha, Ed Catalogue Raisonné of the Paintings, Volume 4: 1988–1992 € 148.00 / £ 135.00 / US$ 200.00 ISBN 978-3-86521-833-9

Ruscha, Ed Catalogue Raisonné of the Paintings, Volume 5: 1993–1997 € 165.00 / £ 138.00 / US$ 200.00 ISBN 978-3-86930-251-5

Ruscha, Ed Catalogue Raisonné of the Paintings, Volume 6. 1998-2003

Schaller, Matthias The Mill

Serra, Richard Notebooks, Vol. 1

€ 50.00 / £ 35.00 / US$ 50.00 ISBN 978-3-86521-378-5

€ 420.00 / £ 350.00 / US$ 480.00 ISBN 978-3-86930-253-9

Schaller, Matthias Purple Desk

Serra, Richard Early Work

€ 38.00 / £ 32.00 / US$ 50.00 ISBN 978-3-86521-597-0

€ 68.00/ £ 54.00 / US$ 88.00 ISBN 978-3-86930-716-9

Matthias Schaller ed. by Germano Celant

Richard Serra (QMA)

€ 65.00 / £ 58.00 / US$ 88.00 € 165.00/ £ 145.00 / US$ 200.00 ISBN 978-3-86930-740-4

€ 48.00 / £ 38.00 / $ 65.00 ISBN 978-3-86930-912-5

ISBN 978-3-86930-323-9

ISBN 978-3-95829-025-9(U.S.)

Ruscha, Ed Catalogue Raisonné of the Paintings, Volume 1: 1958–1970 € 160.00 / £ 110.00 / US$ 200.00 ISBN 978-3-88243-972-4

Ruscha, Ed Catalogue Raisonné of the Paintings, Volume 2: 1971–1982

Ruscha, Ed Los Angeles Apartments

Schles, Ken Invisible City

Serra, Richard Vertical and Horizontal Reversals

€ 38.00/ £ 30.00 / US$ 45.00 ISBN 978-3-869630-596-7

€ 34.00 / £ 28.00 /$ 40.00 ISBN 978-3-86930-691-9

€ 58.00 / £ 52.00 ISBN 978-3-86930-978-1 [Distributed in the USA by David Zwirner (D.A.P.)]

Mark Ruwedel

Schles, Ken Night Walk

Swecz, Maria inter esse

€ 38.00 / £ 30.00 /$ 45.00 ISBN 978-3-86930-692-6

€ 38.00 / £ 30.00 / US$ 45.00 ISBN 978-3-86521-788-2

Savulich, Andrew The City

Schmidt, Jason Artists II

Sheikh, Fazal Ladli

€ 38.00 / £ 30.00 / $ 45.00 ISBN 978-3-86930-690-2

€ 58.00 / £ 48.00 / US$ 70.00 ISBN 978-3-86930-632-2

€ 25.00 / £ 17.50 / US$ 45.00 ISBN 978-3-86521-381-5

€ 48.00 / £ 38.00 / $ 65.00 ISBN 978-3-86930-928-6

€ 160.00 / £ 110.00 / US$ 200.00 ISBN 978-3-86521-138-5

Ruscha, Ed Catalogue Raisonné of the Paintings, Volume 3: 1983–1987 € 160.00 / £ 110.00 / US$ 200.00 ISBN 978-3-86521-368-6

170

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172

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Subotzky, Mikhael / Waterhouse, Patrick Ponte City

Sheikh, Fazal Portraits

Sigal, Ivan White Road

Sternfeld, Joel First Pictures

€ 48.00 / £ 42.00 / US$ 45.00 ISBN 978-3-86521-819-3

€ 65.00 / £ 50.00 / US$ 65.00 ISBN 978-3-86930-538-7

€ 48.00 / £ 42.00 / US$ 75.00 ISBN 978-3-86930-309-3

Sheikh, Fazal Moksha

Singh, Dayanita Museum of Chance

Sternfeld, Joel iDubai

Subotzky, Mikhael Retinal Shift

€ 65.00 / £ 45.00 / US$ 45.00 ISBN 978-3-86521-125-5

€ 48.00 / £ 40.00 / US$ 65.00 ISBN 978-3-86930-693-3

€ 28.00 / £ 24.00 / US$ 40.00 ISBN 978-3-86521-916-9

€ 38.00 / £ 30.00 / US$ 60.00 ISBN 978-3-86930-539-4

Sheikh, Fazal The Circle

Singh, Dayanita Dream Villa

Sternfeld, Joel When it Changed

Taylor-Johnson, Sam Birth of a Clown

€ 30.00 / £ 20.00 / US$ 40.00 ISBN 978-3-86521-599-4

€ 28.00 / £ 24.00 / US$ 35.00 ISBN 978-3-86521-985-5

€ 25.00 / £ 17.50 / US$ 35.00 ISBN 978-3-86521-278-8

€ 34.00 / £ 28.00 / US$ 50.00 ISBN 978-3-86521-853-7

Sheikh, Fazal Ether

Staeck, Klaus / Steidl, Gerhard Beuys Book

Sternfeld, Joel Stranger Passing

Taylor-Johnson, Sam Second Floor

€ 38.00 / £ 30.00 / US$ 45.00 ISBN 978-3-86930-653-7

€ 28.00 / £ 22.00 / US$ 50.00 ISBN 978-3-86521-914-5

€ 65.00 / £ 50.00 / US$ 75.00 ISBN 978-3-86930-499-1

50.00 / 35.00 / 60.00 ISBN 978-3-86930-264-5

Sheikh, Fazal / Weizman, Eyal The Conflict Shoreline

Sternfeld, Joel On This Site

Stillings, Jamey The Evolution of Ivanpah Solar

Teller, Juergen / Ghesquière, Nicolas I Just Arrived in Paris

€ 30.00 / £ 25.00 / US$ 40.00 ISBN 978-3-95829-035-8

€ 48.00 / £ 42.00 / US$ 65.00 ISBN 978-3-86930-434-2

€ 65.00 / £ 58.00 / US$ 70.00 ISBN 978-3-86930-913-2

Sheikh, Fazal The Erasure Trilogy

Sternfeld, Joel Walking the High Line

Sturges, Jock Fanny

Teller, Juergen Nackig auf dem Fußballplatz

€ 98.00 / £ 78.00 / US$ 125.00 ISBN 978-3-86930-805-0

€ 28.00 / £ 25.00 / US$ 30.00 ISBN 978-3-86521-982-4

€ 78.00 / £ 65.00 / US$ 90.00 ISBN 978-3-86930-694-0

€ 25.00 / £ 18.00 / US$ 30.00 ISBN 978-3-88243-963-2

€ 85.00 / £ 68.00 / US$ 100.00 ISBN 978-3-86930-750-3

€ 95.00 / £ 75.00 / US$ 125.00 ISBN 978-3-86930-823-4

Backlist

173

Teller, Juergen Nürnberg

Tese, Andrea Inheritance

Wessel, Henry Incidents

Wylie, Donovan Maze

€ 75.00 / £ 50.00 / US$ 70.00 ISBN 978-3-86521-132-3

€ 35.00 / £ 28.00 / US$ 45.00 ISBN 978-3-86930-810-4

€ 38.00 / £ 30.00 / US$ 60.00 ISBN 978-3-86930-697-1

€ 48.00 / £ 44.00 / US$ 65.00 ISBN 978-3-86521-907-7

Teller, Juergen The Keys to the House

Tillim, Guy O Futuro Certo

Wettre, Jonas Once There were Polaroids

Wylie, Donovan North Warning System

€ 45.00 / £ 39.00 / US$ 60.00 ISBN 978-3-86930-383-3

€ 45.00 / £ 40.00 / US$ 50.00 ISBN 978-3-86930-649-0

€ 30.00 / £ 25.00 / US$ 35.00 ISBN 978-3-86930-963-7

€ 28.00 / £ 22.00 / US$ 35.00 ISBN 978-3-86930-773-2

Teller, Juergen Woo!

Tuggener, Jakob Fabrik

Wetzel, Gereon / Adolph, Jörg How to Make a Book with Steidl

Wylie, Donovan Tower Series

€ 40.00 / £ 30.00 / US$ 60.00 ISBN 978-3-86930-652-0

€ 65.00 / £ 45.00 / US$ 85.00 ISBN 978-3-86521-493-5

€ 25.00 / £ 22.00 / US$ 25.00 ISBN 978-3-86930-119-8

€ 58.00 / £ 50.00 / US$ 60.00 ISBN 978-3-86930-782-4

Teller, Juergen / Ghesquiere, Nicolas The Flow

Voit,Robert New Trees

Wiedenhöfer, Kai Confrontier

Ya‘ari, Sharon Leap Toward Yourself

€ 58.00 / £ 45.00 / $ 68.00 ISBN 978-3-86521-825-4

€ 40.00 / £ 32.00 / US$ 58.00 ISBN 978-3-86930-550-9

€ 48.00/ £ 42.00 / US$ 50.00 ISBN 978-3-86930-723-7

Teller, Juergen Siegerflieger

Wallis, Brian (ed.) The Order of Things

Wiedenhöfer, Kai The Book of Destruction

€ 29.80 / £ 25.00 / $ 35.00 ISBN 978-3-86930-914-9

€ 85.00 / £ 78.00 / US$ 95.00 ISBN 978-3-86930-994-1

€ 34.00 / £ 30.00 / US$ 75.00 ISBN 978-3-86930-207-2

Zander, Thomas (ed.) Double Elephant 1973-74 Manuel Alvarez Bravo, Walker Evans,Lee Friedlander, Garry Winogrand

€ 24.00 / £ 20.00 / $ 29.80 ISBN 978-3-86930-936-1

€ 98.00 / £ 85.00 / US$ 125.00 ISBN 978-3-86930-743-5

174

Backlist

Teller, Juergen Märchenstüberl

Wessel, Henry Waikiki

Wood, Tom Men and Women

Zimmermann, Harf Brand Wand

€ 22.00 / £ 14.00 / US$ 45.00 ISBN 978-3-88243-863-5

€ 58.00 / £ 50.00 / US$ 50.00 ISBN 978-3-89630-300-0

€ 68.00 / £ 58.00 / US$ 70.00 ISBN 978-3-86930-570-7

€ 78.00 / £ 65.00 / $ 98.00 ISBN 978-3-86930-628-5

Backlist

175

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